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"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": "\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": "\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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"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": "\u003cp>An Atlanta man is charged with disorderly conduct and public intoxication after police say he boarded a tour bus for the San Francisco rock band Third Eye Blind and got into a fight with the group’s manager.\u003c/p>\n\u003cp>The Athens Banner-Herald reports that the dust-up happened early Saturday morning, following Third Eye Blind’s concert at the Georgia Theatre in downtown Athens.\u003c/p>\n\u003cp>An Athens-Clarke County police report said 28-year-old Kevin G. Knoblich told officers he just wanted to tell band members that he enjoyed the show.\u003c/p>\n\u003cp>The report said Knoblich told officers he was told to leave the tour bus, and a dispute with the band manager then escalated to slaps and punches.\u003c/p>\n\u003cp>Clarke County Jail records do not list an attorney for Knoblich, who could be reached for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cp>“My voice was released. I found all these new places it could go, from having just done this one song.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Lianne La Havas, ‘Midnight’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/Lianne.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There are plenty of songs about independence; songs that give a bold middle finger to controlling men (Destiny’s Child’s “Independent Women”), silly societal expectations (“Ziggy Stardust”), and even colonizing imperialists (“The Star Spangled Banner”).\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>But Lianne La Havas’ “Midnight” is special; it doesn’t merely celebrate self-reliance and the value of solitude, it invites you into that place as well. In this episode of the podcast — recorded at San Francisco’s very echo-y Swedish American Music Hall — listen in as La Havas recounts the trip to Jamaica that inspired “Midnight,” why its chord progression might remind you of Beyoncé, and how the song made her a more confident singer.\u003c/p>\n\u003cp> \u003cbr>\n\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>\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\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“My voice was released. I found all these new places it could go, from having just done this one song.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Lianne La Havas, ‘Midnight’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/Lianne.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There are plenty of songs about independence; songs that give a bold middle finger to controlling men (Destiny’s Child’s “Independent Women”), silly societal expectations (“Ziggy Stardust”), and even colonizing imperialists (“The Star Spangled Banner”).\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>But Lianne La Havas’ “Midnight” is special; it doesn’t merely celebrate self-reliance and the value of solitude, it invites you into that place as well. In this episode of the podcast — recorded at San Francisco’s very echo-y Swedish American Music Hall — listen in as La Havas recounts the trip to Jamaica that inspired “Midnight,” why its chord progression might remind you of Beyoncé, and how the song made her a more confident singer.\u003c/p>\n\u003cp> \u003cbr>\n\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>\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\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "New Releases From 2 Jazz Duos Reach for the Ineffable",
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"content": "\u003cp>Jazz is an art form based on instrumental conversation, and no format makes this more nakedly clear than the duo. Two new albums capture some of jazz’s most creative musicians in intimate dialogues.\u003c/p>\n\u003cp>\u003cstrong>Vijay Iyer & Wadada Leo Smith\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://vijay-iyer.com\">Pianist Vijay Iyer\u003c/a> and trumpeter \u003ca href=\"http://www.wadadaleosmith.com\">Wadada Leo Smith\u003c/a> have recorded together in Smith’s Golden Quartet, but “A Cosmic Rhythm With Each Stroke” (ECM) is their first duo release together. These are two musicians who have scaled the heights.\u003c/p>\n\u003cp>Smith recently retired from his longtime position as a professor at Cal Arts in Valencia, and he’s been enjoying an amazingly productive late-career run. His epic four-disc album, “\u003ca href=\"https://cuneiformrecords.bandcamp.com/album/ten-freedom-summers-2\">Ten Freedom Summers\u003c/a>,” was a finalist for the 2013 Pulitzer Prize for Music. And Iyer, who decided to pursue a career in music as a doctoral student in physics at UC Berkeley, is a professor at Harvard and leads one of jazz’s most exciting and acclaimed trios. But this project takes them both to a very different musical space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zLxVisyR0o4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Austere and full of portentous stretches of silence, the album’s centerpiece is a seven-movement suite dedicated to the great Indian visual artist \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2016/nasreen-mohamedi\">Nasreen Mohamedi\u003c/a>, and there’s definitely a connection between the spaciousness and rhythmic patterns of her line drawings and the music. Iyer adds electronic textures on some of the more atmospheric pieces, but I particularly like when they knock up against each other, like on the third movement, “Labyrinths.”\u003c/p>\n\u003cp>\u003cstrong>Ross Hammond & Sameer Gupta\u003c/strong>\u003c/p>\n\u003cp>While both albums are animated by a probing spirituality, or a quest for the ineffable, Sacramento \u003ca href=\"http://www.rosshammond.com\">guitarist Ross Hammond\u003c/a> and Brooklyn tabla player \u003ca href=\"https://sameergupta.com\">Sameer Gupta\u003c/a> deliver a very different kind of duo sound with “Upward” (Prescott Records).\u003c/p>\n\u003cp>Where Iyer and Smith’s astringent music unfolds with meditative (or unsettling) calm, Hammond and Gupta’s improvisations are lush, buoyant and expansive.\u003c/p>\n\u003cfigure id=\"attachment_10908085\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-10908085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg\" alt=\"Ross Hammond and Sameer Gupta.\" width=\"720\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta-400x273.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ross Hammond and Sameer Gupta.\u003c/figcaption>\u003c/figure>\n\u003cp>Hammond is on 12-string acoustic guitar, which can sound like a sitar. The pieces are mostly improvised, influenced by the rhythmic cycles of classical Indian ragas, but not at all defined by those forms. Gupta got his start on the Bay Area scene as a drummer, and made a powerful impression with \u003ca href=\"https://www.youtube.com/watch?v=ISsrG0X2WYw\">The Supplicants\u003c/a>, an ecstatic jazz trio with bassist David Ewell and saxophonist David Boyce. He and Hammond have been collaborating in various settings for two decades, and \"Upwards\" unfolds like a free-flowing dialogue between old friends.\u003c/p>\n\u003cp>Both Hammond and Gupta are inveterate organizers. In Brooklyn, Gupta has helped spark a thriving \u003ca href=\"http://brooklynragamassive.com\">Indian music scene\u003c/a> with a weekly jazz-style jam session in a Prospect Park cowboy bar. And Hammond has painstakingly built up the improv music scene in California's capital as the co-founder of \u003ca href=\"http://www.sacbee.com/entertainment/music-news-reviews/article2597544.html\">In the Flow\u003c/a> Jazz and Improvised Music Festival and producer of a long-running concert series that brings in illustrious improvisers from around the country.\u003c/p>\n\u003cp>He’s also no stranger to guitar/drum duos. He’s recorded albums with tabla player Alex Jenkins (“\u003ca href=\"https://rosshammond.bandcamp.com/album/the-ni-project\">The Ni Project\u003c/a>”) and drummer Tom Monson (“\u003ca href=\"https://rosshammond.bandcamp.com/album/v-neck\">V Neck\u003c/a>”), and there’s been an album in the works with drummer Scott Amendola for several years (“\u003ca href=\"https://www.youtube.com/watch?v=AS4Ybzc_1D0\">Lovely Builders\u003c/a>”). But all of those albums feature electric guitar and electronics, while “Upward” is entirely acoustic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4pQ8nBZ2QQ8\u003c/p>\n\u003cp>While Hammond and Gupta explore a wide array of moods, the album is beautifully cohesive. From the pastoral “When Kesslers Rage” and the aching and elegiac “For Chris Ferreira” to the playful “Farm to Tabla,” the music exists in a timeless realm that touches on jazz, Hindustani music, spirituals and country without residing in any particular style.\u003c/p>\n\u003cp>When he's pushed, Hammond describes himself as a folk musician, which fits fine. As Thelonious Monk told Bob Dylan, we all play folk music. Ultimately, the album feels like listening in on friends who aren’t in any rush to finish their conversation. They left me eagerly anticipating their next encounter.\u003c/p>\n\u003cp>\u003cem>Vijay Iyer and Wadada Leo Smith perform April 15 at \u003ca href=\"http://www.oxy.edu/events/vijay-iyer-wadada-leo-smith\">Occidental College\u003c/a> and April 16 at \u003ca href=\"http://calendar.fullerton.edu/EventList.aspx?fromdate=3/5/2016&todate=6/2/2016&display=Month&type=public&eventidn=6288&view=EventDetails&information_id=19904\">Cal State Fullerton\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Sameer Gupta performs at the \u003ca href=\"http://www.redpoppyarthouse.org\">Red Poppy Art\u003c/a> House in San Francisco with David Boyce in \u003ca href=\"http://redpoppyarthouse.org/event/futr-celestial-frequencies/\">The Supplicants Duo\u003c/a> on April 22, a \u003ca href=\"https://www.facebook.com/events/1097365310307875/\">Brooklyn Raga Massive\u003c/a> showcase on April 24, and with \u003ca href=\"http://redpoppyarthouse.org/event/ross-hammond-sameer-gupta/\">Ross Hammond\u003c/a> on April 29. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Austere and full of portentous stretches of silence, the album’s centerpiece is a seven-movement suite dedicated to the great Indian visual artist \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2016/nasreen-mohamedi\">Nasreen Mohamedi\u003c/a>, and there’s definitely a connection between the spaciousness and rhythmic patterns of her line drawings and the music. Iyer adds electronic textures on some of the more atmospheric pieces, but I particularly like when they knock up against each other, like on the third movement, “Labyrinths.”\u003c/p>\n\u003cp>\u003cstrong>Ross Hammond & Sameer Gupta\u003c/strong>\u003c/p>\n\u003cp>While both albums are animated by a probing spirituality, or a quest for the ineffable, Sacramento \u003ca href=\"http://www.rosshammond.com\">guitarist Ross Hammond\u003c/a> and Brooklyn tabla player \u003ca href=\"https://sameergupta.com\">Sameer Gupta\u003c/a> deliver a very different kind of duo sound with “Upward” (Prescott Records).\u003c/p>\n\u003cp>Where Iyer and Smith’s astringent music unfolds with meditative (or unsettling) calm, Hammond and Gupta’s improvisations are lush, buoyant and expansive.\u003c/p>\n\u003cfigure id=\"attachment_10908085\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-10908085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg\" alt=\"Ross Hammond and Sameer Gupta.\" width=\"720\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta-400x273.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ross Hammond and Sameer Gupta.\u003c/figcaption>\u003c/figure>\n\u003cp>Hammond is on 12-string acoustic guitar, which can sound like a sitar. The pieces are mostly improvised, influenced by the rhythmic cycles of classical Indian ragas, but not at all defined by those forms. Gupta got his start on the Bay Area scene as a drummer, and made a powerful impression with \u003ca href=\"https://www.youtube.com/watch?v=ISsrG0X2WYw\">The Supplicants\u003c/a>, an ecstatic jazz trio with bassist David Ewell and saxophonist David Boyce. He and Hammond have been collaborating in various settings for two decades, and \"Upwards\" unfolds like a free-flowing dialogue between old friends.\u003c/p>\n\u003cp>Both Hammond and Gupta are inveterate organizers. In Brooklyn, Gupta has helped spark a thriving \u003ca href=\"http://brooklynragamassive.com\">Indian music scene\u003c/a> with a weekly jazz-style jam session in a Prospect Park cowboy bar. And Hammond has painstakingly built up the improv music scene in California's capital as the co-founder of \u003ca href=\"http://www.sacbee.com/entertainment/music-news-reviews/article2597544.html\">In the Flow\u003c/a> Jazz and Improvised Music Festival and producer of a long-running concert series that brings in illustrious improvisers from around the country.\u003c/p>\n\u003cp>He’s also no stranger to guitar/drum duos. He’s recorded albums with tabla player Alex Jenkins (“\u003ca href=\"https://rosshammond.bandcamp.com/album/the-ni-project\">The Ni Project\u003c/a>”) and drummer Tom Monson (“\u003ca href=\"https://rosshammond.bandcamp.com/album/v-neck\">V Neck\u003c/a>”), and there’s been an album in the works with drummer Scott Amendola for several years (“\u003ca href=\"https://www.youtube.com/watch?v=AS4Ybzc_1D0\">Lovely Builders\u003c/a>”). But all of those albums feature electric guitar and electronics, while “Upward” is entirely acoustic.\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/4pQ8nBZ2QQ8'\n title='//www.youtube.com/embed/4pQ8nBZ2QQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While Hammond and Gupta explore a wide array of moods, the album is beautifully cohesive. From the pastoral “When Kesslers Rage” and the aching and elegiac “For Chris Ferreira” to the playful “Farm to Tabla,” the music exists in a timeless realm that touches on jazz, Hindustani music, spirituals and country without residing in any particular style.\u003c/p>\n\u003cp>When he's pushed, Hammond describes himself as a folk musician, which fits fine. As Thelonious Monk told Bob Dylan, we all play folk music. Ultimately, the album feels like listening in on friends who aren’t in any rush to finish their conversation. They left me eagerly anticipating their next encounter.\u003c/p>\n\u003cp>\u003cem>Vijay Iyer and Wadada Leo Smith perform April 15 at \u003ca href=\"http://www.oxy.edu/events/vijay-iyer-wadada-leo-smith\">Occidental College\u003c/a> and April 16 at \u003ca href=\"http://calendar.fullerton.edu/EventList.aspx?fromdate=3/5/2016&todate=6/2/2016&display=Month&type=public&eventidn=6288&view=EventDetails&information_id=19904\">Cal State Fullerton\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Sameer Gupta performs at the \u003ca href=\"http://www.redpoppyarthouse.org\">Red Poppy Art\u003c/a> House in San Francisco with David Boyce in \u003ca href=\"http://redpoppyarthouse.org/event/futr-celestial-frequencies/\">The Supplicants Duo\u003c/a> on April 22, a \u003ca href=\"https://www.facebook.com/events/1097365310307875/\">Brooklyn Raga Massive\u003c/a> showcase on April 24, and with \u003ca href=\"http://redpoppyarthouse.org/event/ross-hammond-sameer-gupta/\">Ross Hammond\u003c/a> on April 29. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hip-Hop Lending a Hand: Mistah F.A.B.'s Egg Hunt, Philthy Rich's Peace Rally",
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"content": "\u003cp>\u003cstrong>Philthy Rich\u003c/strong> has lived the life: he’s been in and out of jail, in brawls, shot at and more. But the last year, in particular, the rapper born Philip Beasley has hit a new stride. He seems to record a new song or shoot a new video every week, he tours up and down the west coast near-constantly, and his latest album has made both the Billboard charts and \u003ca href=\"https://www.instagram.com/p/BC0mmJhtaty/?taken-by=philthyrichfod&hl=en\" target=\"_blank\" rel=\"noopener\">real-life billboards\u003c/a> in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11436339\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Philthyinline.jpg\" alt=\"Philthy Rich.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11436339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Philthy Rich. \u003ccite>(Image: Philthy Rich/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philthy Rich appears at the West Oakland Youth Center on Saturday, March 26, for ‘Increase the Peace,’ a peace rally with the explicit purpose of reducing violence in Oakland. Attendees are encouraged to share their own experiences with gun violence and ways it can be curbed; Philthy Rich will have plenty to say on the subject. Music, food, giveaways, support counselors and more are all part of the free rally, running from noon to 4pm. \u003ca href=\"http://www.westoaklandyouthcenter.org/calendar/2016/3/22/inc\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mistah F.A.B.\u003c/strong> might have enjoyed his highest public profile during the hyphy era with hits like “Super Sic Wit It” and “Slappin’ in the Trunk,” but in the years since he’s emerged behind the scenes in Oakland as an active community organizer. His annual Thanksgiving turkey giveaways are legend, and he’s led donation drives for school equipment, toys, and more for his hometown.\u003c/p>\n\u003cp>Now, Mistah F.A.B. puts on for the kids in a free Easter egg hunt at Mosswood Park on Saturday, March 26, from 2pm-6pm. Food, family and fun are the order of the day; watch Fabby below on his way to the store to buy jumpers, candy, BBQ supplies and more. \u003ca href=\"https://www.instagram.com/p/BDXIeZQiszS/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/BDW3hpJyGPF/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Behind the beats, East Bay rappers Philthy Rich and Mistah Fab help out their communities in Oakland on Saturday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Philthy Rich\u003c/strong> has lived the life: he’s been in and out of jail, in brawls, shot at and more. But the last year, in particular, the rapper born Philip Beasley has hit a new stride. He seems to record a new song or shoot a new video every week, he tours up and down the west coast near-constantly, and his latest album has made both the Billboard charts and \u003ca href=\"https://www.instagram.com/p/BC0mmJhtaty/?taken-by=philthyrichfod&hl=en\" target=\"_blank\" rel=\"noopener\">real-life billboards\u003c/a> in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11436339\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Philthyinline.jpg\" alt=\"Philthy Rich.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11436339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Philthy Rich. \u003ccite>(Image: Philthy Rich/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philthy Rich appears at the West Oakland Youth Center on Saturday, March 26, for ‘Increase the Peace,’ a peace rally with the explicit purpose of reducing violence in Oakland. Attendees are encouraged to share their own experiences with gun violence and ways it can be curbed; Philthy Rich will have plenty to say on the subject. Music, food, giveaways, support counselors and more are all part of the free rally, running from noon to 4pm. \u003ca href=\"http://www.westoaklandyouthcenter.org/calendar/2016/3/22/inc\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mistah F.A.B.\u003c/strong> might have enjoyed his highest public profile during the hyphy era with hits like “Super Sic Wit It” and “Slappin’ in the Trunk,” but in the years since he’s emerged behind the scenes in Oakland as an active community organizer. His annual Thanksgiving turkey giveaways are legend, and he’s led donation drives for school equipment, toys, and more for his hometown.\u003c/p>\n\u003cp>Now, Mistah F.A.B. puts on for the kids in a free Easter egg hunt at Mosswood Park on Saturday, March 26, from 2pm-6pm. Food, family and fun are the order of the day; watch Fabby below on his way to the store to buy jumpers, candy, BBQ supplies and more. \u003ca href=\"https://www.instagram.com/p/BDXIeZQiszS/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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