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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Marcos Odara has been playing the conga drums for 39 years and teaching for the last 20. Odara hails from Salvador da Bahia, Brazil and now calls\u003cstrong> \u003c/strong>Oakland home. The drum master teaches Brazilian drumming in Oakland and Berkeley.\u003c/p>\n\u003cp>Brazilian percussion involves hands, sticks and all kinds of drums. “We have atabaque, agogo, pandeiro, repinique, surdo, cu\u003cem>í\u003c/em>ca,” Odara says, naming a few tools of his trade.\u003c/p>\n\u003cp>Watch Odara break down three basic drum techniques and then show how they weave together to make beautiful rhythmic patterns:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=LJ2oklZbG70&w=560&h=315]\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Here’s a recap of the three basic techniques of Brazilian drumming, according to Odara:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372759 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg\" alt=\"IMG_0015\" width=\"140\" height=\"105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015.jpg 2048w\" sizes=\"(max-width: 140px) 100vw, 140px\">\u003cstrong>Bass\u003cbr>\n\u003c/strong>Super common and important to master. With a flat hand, hold your fingers together and strike the center of the drum with your palm. As soon as your hand hits the skin of the drum, let it bounce so the sound can escape.\u003c/p>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377749 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg\" alt=\"File_000 (5)\" width=\"137\" height=\"103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-960x720.jpeg 960w\" sizes=\"(max-width: 137px) 100vw, 137px\">Tone\u003cbr>\n\u003c/strong>Tone is all about the fingers. Cup your hands like you are holding a golfball and press the fingers together. Then, strike the rim of the drum with your finger pads.\u003c/p>\n\u003cp>\u003cstrong>S\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11372760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg\" alt=\"IMG_0023\" width=\"141\" height=\"106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023.jpg 2048w\" sizes=\"(max-width: 141px) 100vw, 141px\">lap\u003cbr>\n\u003c/strong>This technique looks easy but is challenging to master. Hit the edge of the drum with a flat medium-open hand.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWant to learn? Here’s where you can find Brazilian-style music and dance classes.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.batalasanfrancisco.com/\">Batalá \u003c/a>\u003ca href=\"http://www.batalasanfrancisco.com/\" target=\"_blank\" rel=\"noopener\"> San Francisco\u003c/a>, Oakland/San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Axé/\u003c/span>\u003cspan style=\"font-weight: 400\">Samba-Reggae drumming group that’s open to all levels of drummers. Performances all over the Bay Area with practices in Oakland. Newbies can become members after four weeks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.brasarte.com/\" target=\"_blank\" rel=\"noopener\">BrasArte\u003c/a>, Berkeley\u003cbr>\n\u003c/strong>With a goal to preserve Brazil’s vibrant music and dance in the Bay Area, BrasArte offers dance classes including samba, folklore, and West African dance and drum.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sambaxedance.com/\" target=\"_blank\" rel=\"noopener\">SambaAxe\u003c/a> , San Francisco\u003cbr>\n\u003c/strong>Primarily teaches various levels of samba at ODC Rhythm and Motion dance program in the Mission District. SambaAxe also offers a samba percussion workshop.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.musicishealing.com\" target=\"_blank\" rel=\"noopener\">Samba Mundial, \u003c/a>Mountain View\u003cbr>\n\u003c/strong>Offers a variety of drum and dance classes as a way to promote cross-cultural exchange and through music and dance. Dedicated to community participation.\u003c/p>\n\u003cfigure id=\"attachment_11377644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377644 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg\" alt=\"Mick Gardner got turned on to playing samba-reggae music when he was passing by a roomful of drummers one day and one of them thrust an instrument in his hands. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mick Gardner, 62, plays the surdo as a release from his job. (Photo: Adizah Eghan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Listen \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/san-francisco-county-corrections-worker-drums-to-let-off-steam/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>to the story of Mick Gardner, a San Francisco County corrections worker who became entranced with Brazilian drumming and now considers the art form a major passion.\u003c/strong> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Marcos Odara has been playing the conga drums for 39 years and teaching for the last 20. Odara hails from Salvador da Bahia, Brazil and now calls\u003cstrong> \u003c/strong>Oakland home. The drum master teaches Brazilian drumming in Oakland and Berkeley.\u003c/p>\n\u003cp>Brazilian percussion involves hands, sticks and all kinds of drums. “We have atabaque, agogo, pandeiro, repinique, surdo, cu\u003cem>í\u003c/em>ca,” Odara says, naming a few tools of his trade.\u003c/p>\n\u003cp>Watch Odara break down three basic drum techniques and then show how they weave together to make beautiful rhythmic patterns:\u003c/p>\n\u003cp>\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/LJ2oklZbG70'\n title='//www.youtube.com/embed/LJ2oklZbG70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Here’s a recap of the three basic techniques of Brazilian drumming, according to Odara:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372759 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg\" alt=\"IMG_0015\" width=\"140\" height=\"105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015.jpg 2048w\" sizes=\"(max-width: 140px) 100vw, 140px\">\u003cstrong>Bass\u003cbr>\n\u003c/strong>Super common and important to master. With a flat hand, hold your fingers together and strike the center of the drum with your palm. As soon as your hand hits the skin of the drum, let it bounce so the sound can escape.\u003c/p>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377749 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg\" alt=\"File_000 (5)\" width=\"137\" height=\"103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-960x720.jpeg 960w\" sizes=\"(max-width: 137px) 100vw, 137px\">Tone\u003cbr>\n\u003c/strong>Tone is all about the fingers. Cup your hands like you are holding a golfball and press the fingers together. Then, strike the rim of the drum with your finger pads.\u003c/p>\n\u003cp>\u003cstrong>S\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11372760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg\" alt=\"IMG_0023\" width=\"141\" height=\"106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023.jpg 2048w\" sizes=\"(max-width: 141px) 100vw, 141px\">lap\u003cbr>\n\u003c/strong>This technique looks easy but is challenging to master. Hit the edge of the drum with a flat medium-open hand.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWant to learn? Here’s where you can find Brazilian-style music and dance classes.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.batalasanfrancisco.com/\">Batalá \u003c/a>\u003ca href=\"http://www.batalasanfrancisco.com/\" target=\"_blank\" rel=\"noopener\"> San Francisco\u003c/a>, Oakland/San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Axé/\u003c/span>\u003cspan style=\"font-weight: 400\">Samba-Reggae drumming group that’s open to all levels of drummers. Performances all over the Bay Area with practices in Oakland. Newbies can become members after four weeks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.brasarte.com/\" target=\"_blank\" rel=\"noopener\">BrasArte\u003c/a>, Berkeley\u003cbr>\n\u003c/strong>With a goal to preserve Brazil’s vibrant music and dance in the Bay Area, BrasArte offers dance classes including samba, folklore, and West African dance and drum.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sambaxedance.com/\" target=\"_blank\" rel=\"noopener\">SambaAxe\u003c/a> , San Francisco\u003cbr>\n\u003c/strong>Primarily teaches various levels of samba at ODC Rhythm and Motion dance program in the Mission District. SambaAxe also offers a samba percussion workshop.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.musicishealing.com\" target=\"_blank\" rel=\"noopener\">Samba Mundial, \u003c/a>Mountain View\u003cbr>\n\u003c/strong>Offers a variety of drum and dance classes as a way to promote cross-cultural exchange and through music and dance. Dedicated to community participation.\u003c/p>\n\u003cfigure id=\"attachment_11377644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377644 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg\" alt=\"Mick Gardner got turned on to playing samba-reggae music when he was passing by a roomful of drummers one day and one of them thrust an instrument in his hands. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mick Gardner, 62, plays the surdo as a release from his job. (Photo: Adizah Eghan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Listen \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/san-francisco-county-corrections-worker-drums-to-let-off-steam/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>to the story of Mick Gardner, a San Francisco County corrections worker who became entranced with Brazilian drumming and now considers the art form a major passion.\u003c/strong> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Spain, the expression \u003cem>ida y vuelta \u003c/em>refers to a style of flamenco that absorbed Latin American influences and returned to the motherland. Translated literally as “roundtrip songs,” these tunes flowed most prolifically from Cuba, intersecting with rumba and \u003cem>guajiras\u003c/em>.\u003c/p>\n\u003cp>But the collaboration between Cuban piano maestro \u003ca href=\"http://www.g-rubalcaba.com\">Gonzalo Rubalcaba\u003c/a> and Spanish flamenco star \u003ca href=\"http://www.la-barraca.be/aespfernengl.htm\">Esperanza Fernández\u003c/a> involves a different kind of journey. Their project \u003ca href=\"http://bayareaflamencofestival.org/Oh_Vida.html\">Oh Vida!\u003c/a> — which concludes the 11th Annual Bay Area \u003ca href=\"http://www.bayareaflamencofestival.org/Bay_Area_Flamenco_Festival_2016.html\">Flamenco Festival\u003c/a> at the Herbst Theater on Wednesday, March 9 — celebrates the enduring influence of Cuban \u003cem>sonero\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=XEYWHh5drSY\">Beny Moré\u003c/a> (1919-1963) and Andalusian flamenco \u003cem>cantaor\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Manolo_Caracol\">Manolo Caracol\u003c/a> (1909-1973). Rather than making a round trip, Oh Vida! creates a new realm by revealing fervid emotional terrain via the shared improvisational imperative in jazz, \u003cem>son\u003c/em> and flamenco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11374695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Gonzalobigger-800x534.jpg\" alt=\"Gonzalobigger\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger.jpg 1772w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Oh Vida! doesn’t present the music of Moré and Caracol as separate entities. As the project’s music director and arranger, Rubalcaba has spent nearly two years researching, pondering and designing a program that weaves together songs associated with Moré and Caracol, two supremely charismatic artists who redefined their respective art forms.\u003c/p>\n\u003cp>“Sometimes we’re listening to Beny Moré in the frame of flamenco harmonies together with Cuban rhythms and then you hear Caracol at the end of a song, like the Beny Moré hit ‘Como Fue,’” says Rubalcaba, 52. “The main purpose to make that sound natural, which is the most difficult thing. From the moment that I started working with this idea I found a lot of points in common, a lot of doors opened.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the golden age of Cuban music from the 1930s to the 1950s, when Havana’s torrid night life accelerated the evolution of styles and rhythms that swept the world (particularly son cubano, mambo and cha cha cha), Moré was at the center of the action. “Beny did everything — boleros, \u003cem>sones\u003c/em>, \u003cem>montunos\u003c/em>, \u003cem>guajiras\u003c/em>,” Rubalcana says. “He made a recording with Orquesta Aragon singing cha cha cha. He tried many different styles and was a champion of everyone. Often you see people able to transmit a powerful lyric, a bolero, but they’re not powerful doing \u003cem>son\u003c/em>, but he was able to do everything.”\u003c/p>\n\u003cp>Like so many flamenco stars, Caracol was born into a musical dynasty. Steeped in the music’s Gypsy roots, he was also one of the art form’s great crossover artists who reached an international audience in the 1940s performing with dancer, singer and actress Lola Flores. Some flamenco purists disdained his popular work, and his extravagant carousing damaged his reputation, but no one contested the extraordinary power of his voice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p4o2fYYxgTM\u003c/p>\n\u003cp>At first glance, the intensity and anguish of Caracol’s flamenco might not seem to share much in common with Moré’s often playful and wise-cracking \u003cem>sones\u003c/em>, but Nina Mendendez says that a deeper look reveals commonalities. “Flamenco has a whole area that’s incredibly humorous and playful, but it’s not what we hear about,” says the Bay Area Flamenco Festival’s founder and artistic director. “The art form is full of anguish and the darker side, but a very important part is the humorous side, which makes sense when you think of humor as a coping device in hard times.”\u003c/p>\n\u003cp>The collaboration between Rubalcaba and Fernández, who gave an incendiary performance at last year’s Flamenco Festival, grew out of a brief encounter in Seville a few years ago. Paired to perform in the documentary film \u003cem>Playing Lecuona\u003c/em>, a musical celebration of the great Cuban composer Ernesto Lecuona, Rubalcaba came to the session largely unfamiliar with Fernández’s work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=60sCwnVogQc\u003c/p>\n\u003cp>“I knew her name, because she was already an important figure in flamenco,” he says. “I remember it took us about half an hour to understand the form and structure of Lecuona’s ‘Malagueña,’ and I was in love with the way she transmitted the music, the sound and power of the voice. There’s something chemical when you see somebody playing or doing art, and you connect or you don’t.”\u003c/p>\n\u003cp>Despite their evident chemistry, Rubalcaba didn’t foresee further collaboration until Fernández approached him and suggested exploring the music of Moré and Caracol. The project premiered Friday, March 4 at the Flamenco Festival Miami; Wednesday’s Herbst Theatre concert is the second-ever Oh Vida! performance. Featuring a percussionist from both traditions and a bassist, it proves to be a rhythmically charged encounter that honors the departed masters by creating something new.\u003c/p>\n\u003cp>“The first part of the process was to listen to them as much as we can, and then get divorced from that,” Rubalcaba says. “We don’t want to risk repeating what they did. We need to know what they did, but with a lot of respect find a way to combine rhythms and sounds — cajón, palmas, congas and bongos — and a vocabulary that goes from flamenco to jazz to Cuban music.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gonzalo Rubalcaba and Esperanza Fernández perform on Wednesday, March 9, at the Herbst Theatre. \u003ca href=\"http://bayareaflamencofestival.org/Oh_Vida.html\" target=\"_blank\" rel=\"noopener\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Spain, the expression \u003cem>ida y vuelta \u003c/em>refers to a style of flamenco that absorbed Latin American influences and returned to the motherland. Translated literally as “roundtrip songs,” these tunes flowed most prolifically from Cuba, intersecting with rumba and \u003cem>guajiras\u003c/em>.\u003c/p>\n\u003cp>But the collaboration between Cuban piano maestro \u003ca href=\"http://www.g-rubalcaba.com\">Gonzalo Rubalcaba\u003c/a> and Spanish flamenco star \u003ca href=\"http://www.la-barraca.be/aespfernengl.htm\">Esperanza Fernández\u003c/a> involves a different kind of journey. Their project \u003ca href=\"http://bayareaflamencofestival.org/Oh_Vida.html\">Oh Vida!\u003c/a> — which concludes the 11th Annual Bay Area \u003ca href=\"http://www.bayareaflamencofestival.org/Bay_Area_Flamenco_Festival_2016.html\">Flamenco Festival\u003c/a> at the Herbst Theater on Wednesday, March 9 — celebrates the enduring influence of Cuban \u003cem>sonero\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=XEYWHh5drSY\">Beny Moré\u003c/a> (1919-1963) and Andalusian flamenco \u003cem>cantaor\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Manolo_Caracol\">Manolo Caracol\u003c/a> (1909-1973). Rather than making a round trip, Oh Vida! creates a new realm by revealing fervid emotional terrain via the shared improvisational imperative in jazz, \u003cem>son\u003c/em> and flamenco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11374695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Gonzalobigger-800x534.jpg\" alt=\"Gonzalobigger\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gonzalobigger.jpg 1772w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Oh Vida! doesn’t present the music of Moré and Caracol as separate entities. As the project’s music director and arranger, Rubalcaba has spent nearly two years researching, pondering and designing a program that weaves together songs associated with Moré and Caracol, two supremely charismatic artists who redefined their respective art forms.\u003c/p>\n\u003cp>“Sometimes we’re listening to Beny Moré in the frame of flamenco harmonies together with Cuban rhythms and then you hear Caracol at the end of a song, like the Beny Moré hit ‘Como Fue,’” says Rubalcaba, 52. “The main purpose to make that sound natural, which is the most difficult thing. From the moment that I started working with this idea I found a lot of points in common, a lot of doors opened.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the golden age of Cuban music from the 1930s to the 1950s, when Havana’s torrid night life accelerated the evolution of styles and rhythms that swept the world (particularly son cubano, mambo and cha cha cha), Moré was at the center of the action. “Beny did everything — boleros, \u003cem>sones\u003c/em>, \u003cem>montunos\u003c/em>, \u003cem>guajiras\u003c/em>,” Rubalcana says. “He made a recording with Orquesta Aragon singing cha cha cha. He tried many different styles and was a champion of everyone. Often you see people able to transmit a powerful lyric, a bolero, but they’re not powerful doing \u003cem>son\u003c/em>, but he was able to do everything.”\u003c/p>\n\u003cp>Like so many flamenco stars, Caracol was born into a musical dynasty. Steeped in the music’s Gypsy roots, he was also one of the art form’s great crossover artists who reached an international audience in the 1940s performing with dancer, singer and actress Lola Flores. Some flamenco purists disdained his popular work, and his extravagant carousing damaged his reputation, but no one contested the extraordinary power of his voice.\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/p4o2fYYxgTM'\n title='//www.youtube.com/embed/p4o2fYYxgTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first glance, the intensity and anguish of Caracol’s flamenco might not seem to share much in common with Moré’s often playful and wise-cracking \u003cem>sones\u003c/em>, but Nina Mendendez says that a deeper look reveals commonalities. “Flamenco has a whole area that’s incredibly humorous and playful, but it’s not what we hear about,” says the Bay Area Flamenco Festival’s founder and artistic director. “The art form is full of anguish and the darker side, but a very important part is the humorous side, which makes sense when you think of humor as a coping device in hard times.”\u003c/p>\n\u003cp>The collaboration between Rubalcaba and Fernández, who gave an incendiary performance at last year’s Flamenco Festival, grew out of a brief encounter in Seville a few years ago. Paired to perform in the documentary film \u003cem>Playing Lecuona\u003c/em>, a musical celebration of the great Cuban composer Ernesto Lecuona, Rubalcaba came to the session largely unfamiliar with Fernández’s work.\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/60sCwnVogQc'\n title='//www.youtube.com/embed/60sCwnVogQc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I knew her name, because she was already an important figure in flamenco,” he says. “I remember it took us about half an hour to understand the form and structure of Lecuona’s ‘Malagueña,’ and I was in love with the way she transmitted the music, the sound and power of the voice. There’s something chemical when you see somebody playing or doing art, and you connect or you don’t.”\u003c/p>\n\u003cp>Despite their evident chemistry, Rubalcaba didn’t foresee further collaboration until Fernández approached him and suggested exploring the music of Moré and Caracol. The project premiered Friday, March 4 at the Flamenco Festival Miami; Wednesday’s Herbst Theatre concert is the second-ever Oh Vida! performance. Featuring a percussionist from both traditions and a bassist, it proves to be a rhythmically charged encounter that honors the departed masters by creating something new.\u003c/p>\n\u003cp>“The first part of the process was to listen to them as much as we can, and then get divorced from that,” Rubalcaba says. “We don’t want to risk repeating what they did. We need to know what they did, but with a lot of respect find a way to combine rhythms and sounds — cajón, palmas, congas and bongos — and a vocabulary that goes from flamenco to jazz to Cuban music.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gonzalo Rubalcaba and Esperanza Fernández perform on Wednesday, March 9, at the Herbst Theatre. \u003ca href=\"http://bayareaflamencofestival.org/Oh_Vida.html\" target=\"_blank\" rel=\"noopener\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every Sunday night for the last two years, San Francisco's \u003ca href=\"http://www.boomboomroom.com/\" target=\"_blank\">Boom Boom Room\u003c/a> has played host to \u003ca href=\"https://www.facebook.com/SFCypher/\" target=\"_blank\">Return of the Cypher\u003c/a>, or ROTC for short.\u003c/p>\n\u003cp>The event's website describes it as a show that “features amazing local freestyle artists taking the stage in improvised sessions, known as Cyphers, where emcees, singers, beat-boxers and musicians collaborate in a spontaneous combustion of pure skill.”\u003c/p>\n\u003cfigure id=\"attachment_10879268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879268\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg\" alt=\"Hip-Hop artist Flo J Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist Flo J. Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I checked it out one Sunday night to see for myself.\u003c/p>\n\u003cp>Under a pink neon sign advertising \"Live Grooves, Cocktails and Dancing,\" music bursts onto the sidewalk as local emcees with varying skills take turns on the mic, honoring the hip-hop artists who came before them.\u003c/p>\n\u003cp>Opening \u003ca href=\"http://www.sfweekly.com/shookdown/2013/10/24/dj-kevvy-kev-on-djing-for-the-rza-playing-chess-onstage-and-the-decline-of-commercial-radio\" target=\"_blank\">DJ Kevvy Kev\u003c/a> has been spinning records in the Bay Area for over 30 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"ROTC is something that needed to happen, so we built it,” Kev explains. “And the response has been really, really cool. It’s been gratifying to see the response. It’s my favorite thing that I do every week.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/250267435\" 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>DJing wasn’t a part of Kev's plan when he moved to California in the early 1980s to attend Stanford University. His initial goal was to graduate with a degree in chemical engineering, but everything suddenly changed when he studied abroad.\u003c/p>\n\u003cp>“My junior year I went over to France for a quarter. This was the year hip-hop was exploding overseas,” Kev says. “So my timing was exact. I went over there, and it was the first time that anyone reacted to me as the hip-hop guy. It meant something to be a DJ, an emcee or a B-Boy. They were really into the culture over there, so I started thinking in terms of maybe this isn’t the plan B, maybe chemistry is the plan B.\"\u003c/p>\n\u003cfigure id=\"attachment_10885288\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10885288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/KevvyKev-800x1078.jpg\" alt=\"DJ Kevvy Kev\" width=\"800\" height=\"1078\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev-400x539.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Kevvy Kev \u003ccite>(cgnsfo/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kev hasn’t put the turntable down since. After returning to Stanford he began DJing for the university’s hip-hop radio show, \"The Drum,\" \u003ca href=\"http://www.amoeba.com/blog/2008/11/jamoeblog/interview-with-kevvy-kev-host-of-world-s-longest-running-hip-hop-radio-show-the-drum-on-kzsu-stanford.html\" target=\"_blank\">where he continued DJing for 27 years\u003c/a>.\u003c/p>\n\u003cp>Back at the Boom Boom Room on Fillmore Street, Kev wraps up his first set and makes room for the Gemstone Band, who take over and keep the rhythm going for the rest of the Cypher.\u003c/p>\n\u003cp>Cyphers are unique events, dating back to the late 1970s when rappers, beat-boxers and dancers would gather in a circle and take turns showing off their skills in one big open jam session.\u003c/p>\n\u003cp>ROTC’s Cypher works a little differently. Rappers get one minute to freestyle onstage. A head emcee keeps the time on an old school hourglass sand timer and passes along the mic to the next rapper when time runs out. Performers can go back on stage, but they’ll have to get in line among the many waiting. Meanwhile, the band just keeps playing, seamlessly changing the beat every few minutes.\u003c/p>\n\u003cfigure id=\"attachment_10879343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879343\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/CypherMC-800x568.jpg\" alt=\"A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some great dancers who bust out some impressive moves. “Just about every week there's somebody that gets open on the floor and starts spinning on their neck,” Kev says.\u003c/p>\n\u003cp>The event is very inclusive and I didn’t see anyone getting turned away from the mic.\u003c/p>\n\u003cp>Local hip-hop artist Flo J. Simpson has been coming to ROTC for about a year now, and he told me why he keeps coming back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I really believe it’s the positivity and the atmosphere that’s created, where everyone feels comfortable expressing themselves, however they do it,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Sunday night for the last two years, San Francisco's \u003ca href=\"http://www.boomboomroom.com/\" target=\"_blank\">Boom Boom Room\u003c/a> has played host to \u003ca href=\"https://www.facebook.com/SFCypher/\" target=\"_blank\">Return of the Cypher\u003c/a>, or ROTC for short.\u003c/p>\n\u003cp>The event's website describes it as a show that “features amazing local freestyle artists taking the stage in improvised sessions, known as Cyphers, where emcees, singers, beat-boxers and musicians collaborate in a spontaneous combustion of pure skill.”\u003c/p>\n\u003cfigure id=\"attachment_10879268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879268\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg\" alt=\"Hip-Hop artist Flo J Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist Flo J. Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I checked it out one Sunday night to see for myself.\u003c/p>\n\u003cp>Under a pink neon sign advertising \"Live Grooves, Cocktails and Dancing,\" music bursts onto the sidewalk as local emcees with varying skills take turns on the mic, honoring the hip-hop artists who came before them.\u003c/p>\n\u003cp>Opening \u003ca href=\"http://www.sfweekly.com/shookdown/2013/10/24/dj-kevvy-kev-on-djing-for-the-rza-playing-chess-onstage-and-the-decline-of-commercial-radio\" target=\"_blank\">DJ Kevvy Kev\u003c/a> has been spinning records in the Bay Area for over 30 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"ROTC is something that needed to happen, so we built it,” Kev explains. “And the response has been really, really cool. It’s been gratifying to see the response. It’s my favorite thing that I do every week.\"\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/250267435&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/250267435'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>DJing wasn’t a part of Kev's plan when he moved to California in the early 1980s to attend Stanford University. His initial goal was to graduate with a degree in chemical engineering, but everything suddenly changed when he studied abroad.\u003c/p>\n\u003cp>“My junior year I went over to France for a quarter. This was the year hip-hop was exploding overseas,” Kev says. “So my timing was exact. I went over there, and it was the first time that anyone reacted to me as the hip-hop guy. It meant something to be a DJ, an emcee or a B-Boy. They were really into the culture over there, so I started thinking in terms of maybe this isn’t the plan B, maybe chemistry is the plan B.\"\u003c/p>\n\u003cfigure id=\"attachment_10885288\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10885288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/KevvyKev-800x1078.jpg\" alt=\"DJ Kevvy Kev\" width=\"800\" height=\"1078\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev-400x539.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Kevvy Kev \u003ccite>(cgnsfo/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kev hasn’t put the turntable down since. After returning to Stanford he began DJing for the university’s hip-hop radio show, \"The Drum,\" \u003ca href=\"http://www.amoeba.com/blog/2008/11/jamoeblog/interview-with-kevvy-kev-host-of-world-s-longest-running-hip-hop-radio-show-the-drum-on-kzsu-stanford.html\" target=\"_blank\">where he continued DJing for 27 years\u003c/a>.\u003c/p>\n\u003cp>Back at the Boom Boom Room on Fillmore Street, Kev wraps up his first set and makes room for the Gemstone Band, who take over and keep the rhythm going for the rest of the Cypher.\u003c/p>\n\u003cp>Cyphers are unique events, dating back to the late 1970s when rappers, beat-boxers and dancers would gather in a circle and take turns showing off their skills in one big open jam session.\u003c/p>\n\u003cp>ROTC’s Cypher works a little differently. Rappers get one minute to freestyle onstage. A head emcee keeps the time on an old school hourglass sand timer and passes along the mic to the next rapper when time runs out. Performers can go back on stage, but they’ll have to get in line among the many waiting. Meanwhile, the band just keeps playing, seamlessly changing the beat every few minutes.\u003c/p>\n\u003cfigure id=\"attachment_10879343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879343\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/CypherMC-800x568.jpg\" alt=\"A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some great dancers who bust out some impressive moves. “Just about every week there's somebody that gets open on the floor and starts spinning on their neck,” Kev says.\u003c/p>\n\u003cp>The event is very inclusive and I didn’t see anyone getting turned away from the mic.\u003c/p>\n\u003cp>Local hip-hop artist Flo J. Simpson has been coming to ROTC for about a year now, and he told me why he keeps coming back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I really believe it’s the positivity and the atmosphere that’s created, where everyone feels comfortable expressing themselves, however they do it,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "ACT's 'The Unfortunates' Attempts to Impress with Gimmicks",
"headTitle": "ACT’s ‘The Unfortunates’ Attempts to Impress with Gimmicks | KQED",
"content": "\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deeper problem, though, is one of idiom. The show’s creators never find a way to tell a story about a man with big hands and so they barrage us with sensation — the sensation of the blues’ deep yearning, the sensation of rap’s anger, the sensation of gospel’s spiritual transcendence, and, most crudely, the sensation of significance. What \u003cem>The Unfortunates\u003c/em> demands from us isn’t understanding, but rather awe. Over and over we’re urged to applaud, whether it be elementary tap dancing, showy singing, or one of the many melodramatic death scenes. But these are gimmicks: they have neither meaning nor a way into actual experience. They’re simply the noise that keeps us from the beauty of Big Joe’s hands.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Unfortunates\u003c/em> runs through April 10th at the Strand Theater in San Francisco. For tickets and information go to www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The deeper problem, though, is one of idiom. The show’s creators never find a way to tell a story about a man with big hands and so they barrage us with sensation — the sensation of the blues’ deep yearning, the sensation of rap’s anger, the sensation of gospel’s spiritual transcendence, and, most crudely, the sensation of significance. What \u003cem>The Unfortunates\u003c/em> demands from us isn’t understanding, but rather awe. Over and over we’re urged to applaud, whether it be elementary tap dancing, showy singing, or one of the many melodramatic death scenes. But these are gimmicks: they have neither meaning nor a way into actual experience. They’re simply the noise that keeps us from the beauty of Big Joe’s hands.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Unfortunates\u003c/em> runs through April 10th at the Strand Theater in San Francisco. For tickets and information go to www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Listening to a Luscious Soprano, Southern Rap, and a DIY Moog",
"headTitle": "Cy and David’s Picks: Listening to a Luscious Soprano, Southern Rap, and a DIY Moog | KQED",
"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/TDL0304.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=3mQk-W1m9v8\u003c/p>\n\u003cp>\u003cstrong>March 8: \u003c/strong>\u003ca href=\"http://efdebris.virb.com/\" target=\"_blank\" rel=\"noopener\">Eleanor Friedberger\u003c/a> was great as half of a quirky duo with her brother in Fiery Furnaces\u003cem>,\u003c/em> but her songs have just gotten stronger since you went solo in 2011. Her new album \u003ca href=\"http://www.eleanorfriedberger.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>New View\u003c/em> \u003c/a>includes lyrics mixing surreal fragments and intimate detail (” Today I feel frozen, but tomorrow I’ll write about you.”). She plays the \u003ca href=\"http://www.theindependentsf.com/event/1007573-eleanor-friedberger-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Independent Tuesday night\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377394\" class=\"wp-caption aligncenter\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg\" alt=\"Opel Productions\" width=\"486\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792-400x265.jpg 400w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Opel Productions \u003ccite>(Photo Credit: Opel Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5: \u003c/strong>We don’t usually mention DJ sets on The Do List, but we’re making an exception for a pair of anniversaries.\u003ca href=\"http://www.opelproductions.com/\" target=\"_blank\" rel=\"noopener\"> Opel, \u003c/a>run by Syd Gris, is celebrating 14 years using the dance community as a positive vehicle of change. And on Saturday, they’re throwing a party at Public Works with a DJ set from LA’s \u003ca href=\"http://thecrystalmethod.com/\" target=\"_blank\" rel=\"noopener\">Crystal Method\u003c/a>, celebrating it’s 20th anniversary. According to Gris, this maybe the electronic music duo’s last performance before a long hiatus.\u003cbr>\nDetails \u003ca href=\"http://publicsf.com/events/opel-14-year-anniversary-w-the-crystal-method-dj-set-13740\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377390\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11377390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg\" alt=\"Joan Jeanrenaud and Charlie Varon collaborate on 'The Second Time Around' at The Marsh \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud and Charlie Varon collaborate on ‘The Second Time Around’ at The Marsh \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5-17:\u003c/strong> We’ve often highlighted plays by solo artist \u003ca href=\"http://www.charlievaron.com/\" target=\"_blank\" rel=\"noopener\">Charlie Varon\u003c/a> on The Do List. He’s smart, he’s funny, he works with the great director David Ford; what’s not to like. But \u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Second Time Around\u003c/em> \u003c/a>is the first show where Varon has a musical accompaniist, the brilliant San Francisco cellist \u003ca href=\"http://www.jjcello.com/\" target=\"_blank\" rel=\"noopener\">Joan Jeanrenaud\u003c/a>, formerly of \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. Their new duet is called \u003cem>\u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">Second Time Around,\u003c/a>\u003c/em> and Varon says it’s part of a series he’s doing about feisty old Jews. (The last one was \u003cem>Feisty Old Jew). Second Time Around is about a\u003c/em> World War Two veteran recalling his time as a bomber pilot. “A lot of the time Ben is in memory land, in his emotions and regrets.” Varon told me this week when I asked why he decided to work with Jeanrenaud, “And the cello is the great expresser of the inner life of human beings. ” And Jeanrenaud added, “I think the cello is a natural indicator of someone’s inner life. The nature of the instrument, it’s range, much like a human voice.” Details\u003ca href=\"http://Varon%20told%20me%20this%20week%20when%20I%20asked%20why%20he%20decided%20to%20work%20with%20Jeanrenaud,\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ufDLvge-T_U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Soprano \u003ca href=\"http://www.reneefleming.com/\" target=\"_blank\" rel=\"noopener\">Rene Fleming\u003c/a> has one of the most luscious voices in classical music. But what grabbed our attention this week was her choice of repertoire; she’s singing music by Rachmaninoff and Schumann, but also songs by Chicago jazz pianist and composer \u003ca href=\"http://www.patriciabarber.com/\" target=\"_blank\" rel=\"noopener\">Patricia Barber\u003c/a>. Fleming and Barber hit it off after meeting in Chicago (apparently they bonded over a discussion of mucous, a common problem for singers). Fleming and her accompaniist Olga Kern play \u003ca href=\"http://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Cal Performances Saturday at Zellerbach Hall.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11377500\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moogfest.png\" alt=\"Moogfest\" width=\"640\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest-400x154.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Moogfest\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5:\u003c/strong> My dad used to make\u003ca href=\"https://shop.heathkit.com/shop\" target=\"_blank\" rel=\"noopener\"> radio sets\u003c/a>. And I had friends who made kit computers. But this is new: a DIY \u003ca href=\"http://www.moogmusic.com/\" target=\"_blank\" rel=\"noopener\">Moog Synthesizer\u003c/a>, the analog daddy of all electronic music. This is one of a series of Moog demos and DIY sessions around the country, and will feature master synthesist Suzanne Ciani doing an evening performance. The workshops and performances are at \u003ca href=\"http://grayarea.org/\" target=\"_blank\" rel=\"noopener\">Gray Area\u003c/a> in San Francisco. The \u003ca href=\"http://grayarea.org/event/moogfest-dial-tones/\" target=\"_blank\" rel=\"noopener\">youth workshop (bring your kids) starts at 12:30; the adult workshop at 5:00pm\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r2IuB9GPSE0\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> Pell’s mix of singing and chanting lyrics has been called dream rap, cloud rap, and trip hop. Pell, born Jared Pellerin, mixes Southern Rap with a NOLA sound (he grew up in New Orleans before Hurricane Katrina displaced his family). We think the music is little bit psychedelic, a little bit silly, and a lot of fun. Pell plays the \u003ca href=\"http://www.catalystclub.com/event/1031181-pell-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz Monday March 7\u003c/a>, and the \u003ca href=\"http://thenewparish.com/event.cfm?id=229544\" target=\"_blank\" rel=\"noopener\">New Parish in Oakland\u003c/a> on Tuesday March 8.\u003c/p>\n\u003cfigure id=\"attachment_11377512\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377512\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg\" alt=\"Jack Quartet\" width=\"850\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-768x511.jpg 768w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jack Quartet \u003ccite>(Photo Credit: Justin Bernhaut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Pivot is a new music series from San Francisco Performances with an edgy profile, and a mission to recruit younger audiences. The series opens with the \u003ca href=\"http://www.jackquartet.com/\" target=\"_blank\" rel=\"noopener\">Jack Quartet \u003c/a>playing \u003cem>The \u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\">Quartet Number 3\u003c/a>\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\"> by George Friedrich Haas\u003c/a> totally in the dark, as the composer directed.\u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\"> \u003c/a>The show is almost sure to weed out SFP’s older subscribers, \u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\">it starts at 11pm at the Strand Theater in San Francisco.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL0304.mp3\u003cbr>\n\u003c/p>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3mQk-W1m9v8'\n title='//www.youtube.com/embed/3mQk-W1m9v8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 8: \u003c/strong>\u003ca href=\"http://efdebris.virb.com/\" target=\"_blank\" rel=\"noopener\">Eleanor Friedberger\u003c/a> was great as half of a quirky duo with her brother in Fiery Furnaces\u003cem>,\u003c/em> but her songs have just gotten stronger since you went solo in 2011. Her new album \u003ca href=\"http://www.eleanorfriedberger.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>New View\u003c/em> \u003c/a>includes lyrics mixing surreal fragments and intimate detail (” Today I feel frozen, but tomorrow I’ll write about you.”). She plays the \u003ca href=\"http://www.theindependentsf.com/event/1007573-eleanor-friedberger-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Independent Tuesday night\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377394\" class=\"wp-caption aligncenter\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg\" alt=\"Opel Productions\" width=\"486\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792-400x265.jpg 400w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Opel Productions \u003ccite>(Photo Credit: Opel Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5: \u003c/strong>We don’t usually mention DJ sets on The Do List, but we’re making an exception for a pair of anniversaries.\u003ca href=\"http://www.opelproductions.com/\" target=\"_blank\" rel=\"noopener\"> Opel, \u003c/a>run by Syd Gris, is celebrating 14 years using the dance community as a positive vehicle of change. And on Saturday, they’re throwing a party at Public Works with a DJ set from LA’s \u003ca href=\"http://thecrystalmethod.com/\" target=\"_blank\" rel=\"noopener\">Crystal Method\u003c/a>, celebrating it’s 20th anniversary. According to Gris, this maybe the electronic music duo’s last performance before a long hiatus.\u003cbr>\nDetails \u003ca href=\"http://publicsf.com/events/opel-14-year-anniversary-w-the-crystal-method-dj-set-13740\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377390\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11377390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg\" alt=\"Joan Jeanrenaud and Charlie Varon collaborate on 'The Second Time Around' at The Marsh \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud and Charlie Varon collaborate on ‘The Second Time Around’ at The Marsh \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5-17:\u003c/strong> We’ve often highlighted plays by solo artist \u003ca href=\"http://www.charlievaron.com/\" target=\"_blank\" rel=\"noopener\">Charlie Varon\u003c/a> on The Do List. He’s smart, he’s funny, he works with the great director David Ford; what’s not to like. But \u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Second Time Around\u003c/em> \u003c/a>is the first show where Varon has a musical accompaniist, the brilliant San Francisco cellist \u003ca href=\"http://www.jjcello.com/\" target=\"_blank\" rel=\"noopener\">Joan Jeanrenaud\u003c/a>, formerly of \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. Their new duet is called \u003cem>\u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">Second Time Around,\u003c/a>\u003c/em> and Varon says it’s part of a series he’s doing about feisty old Jews. (The last one was \u003cem>Feisty Old Jew). Second Time Around is about a\u003c/em> World War Two veteran recalling his time as a bomber pilot. “A lot of the time Ben is in memory land, in his emotions and regrets.” Varon told me this week when I asked why he decided to work with Jeanrenaud, “And the cello is the great expresser of the inner life of human beings. ” And Jeanrenaud added, “I think the cello is a natural indicator of someone’s inner life. The nature of the instrument, it’s range, much like a human voice.” Details\u003ca href=\"http://Varon%20told%20me%20this%20week%20when%20I%20asked%20why%20he%20decided%20to%20work%20with%20Jeanrenaud,\" 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/ufDLvge-T_U'\n title='//www.youtube.com/embed/ufDLvge-T_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Soprano \u003ca href=\"http://www.reneefleming.com/\" target=\"_blank\" rel=\"noopener\">Rene Fleming\u003c/a> has one of the most luscious voices in classical music. But what grabbed our attention this week was her choice of repertoire; she’s singing music by Rachmaninoff and Schumann, but also songs by Chicago jazz pianist and composer \u003ca href=\"http://www.patriciabarber.com/\" target=\"_blank\" rel=\"noopener\">Patricia Barber\u003c/a>. Fleming and Barber hit it off after meeting in Chicago (apparently they bonded over a discussion of mucous, a common problem for singers). Fleming and her accompaniist Olga Kern play \u003ca href=\"http://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Cal Performances Saturday at Zellerbach Hall.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11377500\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moogfest.png\" alt=\"Moogfest\" width=\"640\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest-400x154.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Moogfest\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5:\u003c/strong> My dad used to make\u003ca href=\"https://shop.heathkit.com/shop\" target=\"_blank\" rel=\"noopener\"> radio sets\u003c/a>. And I had friends who made kit computers. But this is new: a DIY \u003ca href=\"http://www.moogmusic.com/\" target=\"_blank\" rel=\"noopener\">Moog Synthesizer\u003c/a>, the analog daddy of all electronic music. This is one of a series of Moog demos and DIY sessions around the country, and will feature master synthesist Suzanne Ciani doing an evening performance. The workshops and performances are at \u003ca href=\"http://grayarea.org/\" target=\"_blank\" rel=\"noopener\">Gray Area\u003c/a> in San Francisco. The \u003ca href=\"http://grayarea.org/event/moogfest-dial-tones/\" target=\"_blank\" rel=\"noopener\">youth workshop (bring your kids) starts at 12:30; the adult workshop at 5:00pm\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/r2IuB9GPSE0'\n title='//www.youtube.com/embed/r2IuB9GPSE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 8:\u003c/strong> Pell’s mix of singing and chanting lyrics has been called dream rap, cloud rap, and trip hop. Pell, born Jared Pellerin, mixes Southern Rap with a NOLA sound (he grew up in New Orleans before Hurricane Katrina displaced his family). We think the music is little bit psychedelic, a little bit silly, and a lot of fun. Pell plays the \u003ca href=\"http://www.catalystclub.com/event/1031181-pell-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz Monday March 7\u003c/a>, and the \u003ca href=\"http://thenewparish.com/event.cfm?id=229544\" target=\"_blank\" rel=\"noopener\">New Parish in Oakland\u003c/a> on Tuesday March 8.\u003c/p>\n\u003cfigure id=\"attachment_11377512\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377512\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg\" alt=\"Jack Quartet\" width=\"850\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-768x511.jpg 768w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jack Quartet \u003ccite>(Photo Credit: Justin Bernhaut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Pivot is a new music series from San Francisco Performances with an edgy profile, and a mission to recruit younger audiences. The series opens with the \u003ca href=\"http://www.jackquartet.com/\" target=\"_blank\" rel=\"noopener\">Jack Quartet \u003c/a>playing \u003cem>The \u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\">Quartet Number 3\u003c/a>\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\"> by George Friedrich Haas\u003c/a> totally in the dark, as the composer directed.\u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\"> \u003c/a>The show is almost sure to weed out SFP’s older subscribers, \u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\">it starts at 11pm at the Strand Theater in San Francisco.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea",
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"content": "\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jb1oCjiIu9M\u003c/p>\n\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\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/jb1oCjiIu9M'\n title='//www.youtube.com/embed/jb1oCjiIu9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp style=\"color: #000000\">From her early years to current success as a creative musician, Esperanza Spalding has charted her own course. The young bassist/vocalist/composer has blazed unmarked territory, garnering Best New Artist at the 53rd Grammy® Awards. See this unprecedented jazz musician live, Sunday March 14 at Mezzanine. .. for FREE! W\u003cstrong>e’ve got a five pair of tickets to give away!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Esperanza Spalding\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select one winner for a pair of tickets (worth $35 each) \u003cstrong>Deadline to enter is Wednesday, March 9 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Thursday, and tickets will be held at Will Call. You must be a California resident and 21 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca style=\"color: #114999\" href=\"http://mezzaninesf.com/events/esperanza-spalding-presents-emilys-devolution/\" target=\"_blank\">Esperanza Spalding Presents: Emily's D+Evolution\u003c/a>\u003cem>\u003ca style=\"color: #114999\" href=\"http://mezzaninesf.com/events/esperanza-spalding-presents-emilys-devolution/\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>Doors 7.30pm, Sunday, March 13\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"http://mezzaninesf.com/\" target=\"_blank\">Mezzanine\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>444 Jessie St, San Francisco, CA 94103\u003c/strong>\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"color: #000000\">From her early years to current success as a creative musician, Esperanza Spalding has charted her own course. The young bassist/vocalist/composer has blazed unmarked territory, garnering Best New Artist at the 53rd Grammy® Awards. See this unprecedented jazz musician live, Sunday March 14 at Mezzanine. .. for FREE! W\u003cstrong>e’ve got a five pair of tickets to give away!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Esperanza Spalding\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select one winner for a pair of tickets (worth $35 each) \u003cstrong>Deadline to enter is Wednesday, March 9 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Thursday, and tickets will be held at Will Call. You must be a California resident and 21 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca style=\"color: #114999\" href=\"http://mezzaninesf.com/events/esperanza-spalding-presents-emilys-devolution/\" target=\"_blank\">Esperanza Spalding Presents: Emily's D+Evolution\u003c/a>\u003cem>\u003ca style=\"color: #114999\" href=\"http://mezzaninesf.com/events/esperanza-spalding-presents-emilys-devolution/\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>Doors 7.30pm, Sunday, March 13\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"http://mezzaninesf.com/\" target=\"_blank\">Mezzanine\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>444 Jessie St, San Francisco, CA 94103\u003c/strong>\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>UPDATED:\u003c/b> March 1, 4:30pm. \u003c/p>\n\u003cp>San Francisco’s Saint John Will I Am Coltrane African Orthodox Church planned to protest their impending eviction Tuesday, but thanks to some good news received just hours before, they are going to be celebrating instead.\u003c/p>\n\u003cp>The church received a notice \u003ca href=\"http://ww2.kqed.org/arts/2016/02/24/coltrane-church-told-by-san-francisco-sheriff-it-has-a-week-to-relocate/\" target=\"_blank\" rel=\"noopener\">last week from the San Francisco’s Sheriff’s Department\u003c/a> that it must remove all of its possessions from its space in the West Bay Community Center by the morning of March 2. After fighting for weeks, the church appeared to have little recourse.\u003c/p>\n\u003cp>But just minutes before 2pm, the Coltrane Church tweeted from its account that “The People’s Power Prevails!”\u003c/p>\n\u003cp>https://twitter.com/ColtraneAOC/status/704785319099441152\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the church’s Facebook page, representatives thanked the church’s supporters:\u003c/p>\n\u003cp>https://www.facebook.com/stjohncoltranechurchwest/photos/a.284607624917.186773.274649844917/10154488586324918/\u003c/p>\n\u003cp>The church announced that it was celebrating in front of its current location — 1286 Fillmore St., San Francisco — at 4pm Tuesday.\u003c/p>\n\u003cp>At the event, attended by dozens of supporters and local media, Archbishop Franzo King, who co-founded the church back in 1971, arrived to applause.\u003c/p>\n\u003cp>“It was not a reprieve; we just refused to leave at gunpoint,” King told the crowd.\u003c/p>\n\u003cp>After speaking with the media, King announced that another meeting would be held on March 20 at 11am, where church representatives would discuss issues they had with the landlords, the managers of the West Bay Community Center. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATED:\u003c/b> March 1, 4:30pm. \u003c/p>\n\u003cp>San Francisco’s Saint John Will I Am Coltrane African Orthodox Church planned to protest their impending eviction Tuesday, but thanks to some good news received just hours before, they are going to be celebrating instead.\u003c/p>\n\u003cp>The church received a notice \u003ca href=\"http://ww2.kqed.org/arts/2016/02/24/coltrane-church-told-by-san-francisco-sheriff-it-has-a-week-to-relocate/\" target=\"_blank\" rel=\"noopener\">last week from the San Francisco’s Sheriff’s Department\u003c/a> that it must remove all of its possessions from its space in the West Bay Community Center by the morning of March 2. After fighting for weeks, the church appeared to have little recourse.\u003c/p>\n\u003cp>But just minutes before 2pm, the Coltrane Church tweeted from its account that “The People’s Power Prevails!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the church’s Facebook page, representatives thanked the church’s supporters:\u003c/p>\n\u003cp>https://www.facebook.com/stjohncoltranechurchwest/photos/a.284607624917.186773.274649844917/10154488586324918/\u003c/p>\n\u003cp>The church announced that it was celebrating in front of its current location — 1286 Fillmore St., San Francisco — at 4pm Tuesday.\u003c/p>\n\u003cp>At the event, attended by dozens of supporters and local media, Archbishop Franzo King, who co-founded the church back in 1971, arrived to applause.\u003c/p>\n\u003cp>“It was not a reprieve; we just refused to leave at gunpoint,” King told the crowd.\u003c/p>\n\u003cp>After speaking with the media, King announced that another meeting would be held on March 20 at 11am, where church representatives would discuss issues they had with the landlords, the managers of the West Bay Community Center. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> this week will present the world’s first amateur production of the Broadway hit \u003cem>\u003ca href=\"http://schoolofrockthemusical.com/tickets/?gclid=CPPQ4_C9nssCFYRrfgod_l8KxQ\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>,\u003c/em> by \u003ca href=\"http://www.andrewlloydwebber.com/\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber\u003c/a>, the composer behind the musicals \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Cats\u003c/em> and \u003cem>Sunset Boulevard\u003c/em>.\u003c/p>\n\u003cp>It’s a dream come true for the Oakland charter school’s many theater kids, the ones who grow up believing that one day they’ll sing and tap their heart out on Broadway.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/249709250″ 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>Tenth grader Jack Isaacson Brewster plays the lead.\u003c/p>\n\u003cp>“Okay, I’m the second person to play Dewey in the musical School of Rock.” Brewster said at a recent rehearsal. “That’s just so crazy to me. Wow!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brewster and his cast mates, the band, the director, and music director, stage manager and set designer, plus a few parents were milling about on Saturday at the \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco. This is where the kids will be presenting \u003ca href=\"http://www.oakarts.org/about/227-a-front-page-cat/927-osa-presents-webber-s-school-of-rock\" target=\"_blank\" rel=\"noopener\">\u003cem>School of Rock\u003c/em> for the first time on Thursday, and where the show will continuing through March 12.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11370312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg\" alt=\"Oakland School for the Arts students rehearse 'School of Rock' at the Curran\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts students rehearse ‘School of Rock’ at the Curran \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a sweet comedy, based on the \u003ca href=\"http://www.imdb.com/title/tt0332379/\" target=\"_blank\" rel=\"noopener\">2003 movie starring Jack Black\u003c/a>, with songs by Webber, lyrics by Glenn Slater and a book by Julian Fellowes. It tells the story of a misfit rock-and-roller and how he becomes mentor to a classroom of misfit kids who triumph despite the odds. \u003c/p>\n\u003cp>It’s by no means a fresh story, but the student performers are so into it, like tenth grader Tatiana Cordoba from Castro Valley. Cordoba plays one of the parents and she says she’s gaining insights about both sides of the child-parent dynamic.\u003c/p>\n\u003cp>“I think it’s really special to have a show,” Cordoba said, “where you really get to see the inside of a kid, and their heart and their head, and how like they’re really more mature than people think they are.”\u003c/p>\n\u003cp>The kids have the chance to perform the musical because Andrew Lloyd Webber is releasing the amateur performance rights years ahead of the usual schedule for a successful Broadway show.\u003c/p>\n\u003cp>“This is a piece about children making music,” said Webber, who \u003ca href=\"http://www.andrewlloydwebberfoundation.com/\" target=\"_blank\" rel=\"noopener\">founded a charity\u003c/a> that funds music and arts education in England and New York City. “And the more young people get involved with making music and theater, then the more they love theater and come to theater. Anyway that’s how I started.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2wGtlfD19w\u003c/p>\n\u003cp>Webber gave the rights for the first amateur production to the Oakland School for the Arts, because producer and Curran Theater owner Carole Shorenstein Hays suggested the school to Webber, and then she invited the students to stage the show at the Curran.\u003c/p>\n\u003cp>But it was a bit of a dilemma for School for the Arts staff. Musicals are so logistically challenging that even this school, which is devoted to the performing arts, had decided to do a musical every other year only. This was supposed to be a down year.\u003c/p>\n\u003cp>“The academic teachers don’t have this on their calendar,” principal Donn Harris said. “And I come in and say, we’re going to charge ahead. So I’ve got to smooth those waters.”\u003c/p>\n\u003cp>But then Harris explains why he couldn’t pass up the offer. “Maybe there’s some competitive fire with those other schools that didn’t get it.”\u003c/p>\n\u003cp>Normally, musicals take five to six months to produce, but theater teacher and director Michael Berry says they’ve done this show in just over seven weeks, with the student performers rehearsing six and seven days a week.\u003c/p>\n\u003cfigure id=\"attachment_11370313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370313\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg\" alt=\"Oakland School for the Arts theater teacher Michael Berry\" width=\"640\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1920x1463.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-960x732.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts theater teacher Michael Berry \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is what arts education is about,” Berry said. “Most of these kids are not going to go on to the performing arts, but this experience is something they’ll carry with them for a lifetime.”\u003c/p>\n\u003cp>That’s certainly true for School for the Arts Stage Manager Isabel Gartland. She was in NYC with her family, and got to shadow the stage hands and Broadway production stage manager.\u003c/p>\n\u003cp>“It’s a great opportunity for us to see what it’s like to be in the theater industry.” Gartland said. “Instead of being in just a high school production, because this seems much bigger than a high school production.”\u003c/p>\n\u003cp>Webber says he’s thrilled the kids are enjoying themselves. It’s exactly what he had in mind when he made \u003cem>School of Rock\u003c/em> available for youth theater productions.\u003c/p>\n\u003cp>“It empowers,” Webber said. “And that’s why I want the kids to perform the piece. And have fun with it. And that’s the most important thing. To have fun with it. To rock out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One disappointment for anyone who was hoping to catch \u003cem>School of Rock\u003c/em> without going to New York, or waiting a few years for a touring company to come to San Francisco, you’re probably out of luck. The Oakland School for the Arts shows are sold out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> this week will present the world’s first amateur production of the Broadway hit \u003cem>\u003ca href=\"http://schoolofrockthemusical.com/tickets/?gclid=CPPQ4_C9nssCFYRrfgod_l8KxQ\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>,\u003c/em> by \u003ca href=\"http://www.andrewlloydwebber.com/\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber\u003c/a>, the composer behind the musicals \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Cats\u003c/em> and \u003cem>Sunset Boulevard\u003c/em>.\u003c/p>\n\u003cp>It’s a dream come true for the Oakland charter school’s many theater kids, the ones who grow up believing that one day they’ll sing and tap their heart out on Broadway.\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/249709250″&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/249709250″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tenth grader Jack Isaacson Brewster plays the lead.\u003c/p>\n\u003cp>“Okay, I’m the second person to play Dewey in the musical School of Rock.” Brewster said at a recent rehearsal. “That’s just so crazy to me. Wow!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brewster and his cast mates, the band, the director, and music director, stage manager and set designer, plus a few parents were milling about on Saturday at the \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco. This is where the kids will be presenting \u003ca href=\"http://www.oakarts.org/about/227-a-front-page-cat/927-osa-presents-webber-s-school-of-rock\" target=\"_blank\" rel=\"noopener\">\u003cem>School of Rock\u003c/em> for the first time on Thursday, and where the show will continuing through March 12.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11370312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg\" alt=\"Oakland School for the Arts students rehearse 'School of Rock' at the Curran\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts students rehearse ‘School of Rock’ at the Curran \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a sweet comedy, based on the \u003ca href=\"http://www.imdb.com/title/tt0332379/\" target=\"_blank\" rel=\"noopener\">2003 movie starring Jack Black\u003c/a>, with songs by Webber, lyrics by Glenn Slater and a book by Julian Fellowes. It tells the story of a misfit rock-and-roller and how he becomes mentor to a classroom of misfit kids who triumph despite the odds. \u003c/p>\n\u003cp>It’s by no means a fresh story, but the student performers are so into it, like tenth grader Tatiana Cordoba from Castro Valley. Cordoba plays one of the parents and she says she’s gaining insights about both sides of the child-parent dynamic.\u003c/p>\n\u003cp>“I think it’s really special to have a show,” Cordoba said, “where you really get to see the inside of a kid, and their heart and their head, and how like they’re really more mature than people think they are.”\u003c/p>\n\u003cp>The kids have the chance to perform the musical because Andrew Lloyd Webber is releasing the amateur performance rights years ahead of the usual schedule for a successful Broadway show.\u003c/p>\n\u003cp>“This is a piece about children making music,” said Webber, who \u003ca href=\"http://www.andrewlloydwebberfoundation.com/\" target=\"_blank\" rel=\"noopener\">founded a charity\u003c/a> that funds music and arts education in England and New York City. “And the more young people get involved with making music and theater, then the more they love theater and come to theater. Anyway that’s how I started.”\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/n2wGtlfD19w'\n title='//www.youtube.com/embed/n2wGtlfD19w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Webber gave the rights for the first amateur production to the Oakland School for the Arts, because producer and Curran Theater owner Carole Shorenstein Hays suggested the school to Webber, and then she invited the students to stage the show at the Curran.\u003c/p>\n\u003cp>But it was a bit of a dilemma for School for the Arts staff. Musicals are so logistically challenging that even this school, which is devoted to the performing arts, had decided to do a musical every other year only. This was supposed to be a down year.\u003c/p>\n\u003cp>“The academic teachers don’t have this on their calendar,” principal Donn Harris said. “And I come in and say, we’re going to charge ahead. So I’ve got to smooth those waters.”\u003c/p>\n\u003cp>But then Harris explains why he couldn’t pass up the offer. “Maybe there’s some competitive fire with those other schools that didn’t get it.”\u003c/p>\n\u003cp>Normally, musicals take five to six months to produce, but theater teacher and director Michael Berry says they’ve done this show in just over seven weeks, with the student performers rehearsing six and seven days a week.\u003c/p>\n\u003cfigure id=\"attachment_11370313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370313\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg\" alt=\"Oakland School for the Arts theater teacher Michael Berry\" width=\"640\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1920x1463.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-960x732.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts theater teacher Michael Berry \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is what arts education is about,” Berry said. “Most of these kids are not going to go on to the performing arts, but this experience is something they’ll carry with them for a lifetime.”\u003c/p>\n\u003cp>That’s certainly true for School for the Arts Stage Manager Isabel Gartland. She was in NYC with her family, and got to shadow the stage hands and Broadway production stage manager.\u003c/p>\n\u003cp>“It’s a great opportunity for us to see what it’s like to be in the theater industry.” Gartland said. “Instead of being in just a high school production, because this seems much bigger than a high school production.”\u003c/p>\n\u003cp>Webber says he’s thrilled the kids are enjoying themselves. It’s exactly what he had in mind when he made \u003cem>School of Rock\u003c/em> available for youth theater productions.\u003c/p>\n\u003cp>“It empowers,” Webber said. “And that’s why I want the kids to perform the piece. And have fun with it. And that’s the most important thing. To have fun with it. To rock out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One disappointment for anyone who was hoping to catch \u003cem>School of Rock\u003c/em> without going to New York, or waiting a few years for a touring company to come to San Francisco, you’re probably out of luck. The Oakland School for the Arts shows are sold out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Prince at Oracle Arena, Tickets on Sale Today",
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"content": "\u003cp>After a weekend of two \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">sold-out shows\u003c/a> at the Paramount Theatre in Oakland, Prince is back for more: he plays a last-minute show at the Oracle Arena this Friday, March 4. Tickets go on sale \u003ca href=\"http://www.ticketmaster.com/prince-piano-and-a-microphone-oakland-california-03-04-2016/event/1C00505C06753CD4?artistid=735895&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener\">at 4pm today\u003c/a>, Tuesday, March 1, at \u003ca href=\"http://www.ticketmaster.com/prince-piano-and-a-microphone-oakland-california-03-04-2016/event/1C00505C06753CD4?artistid=735895&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener\">this ticket link right here\u003c/a>.\u003c/p>\n\u003cp>Tickets are priced at $49.50, $99.50, $199.50 and $275. (“Gold Circle” seats run $500.) Just as with the Paramount Theatre shows, \u003ca href=\"http://www.ticketmaster.com/creditcardentry\" target=\"_blank\" rel=\"noopener\">paperless ticketing\u003c/a> is in effect; in an effort to deter scalpers, ticket buyers must bring the credit or debit card used to purchase tickets, swipe the card at the door, and be ushered into the venue.\u003c/p>\n\u003cp>The 9pm performance is billed as in-the-round, with Prince’s recent solo “Piano & a Microphone” format. Reviews of the casual, intimate show, \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">including our own\u003c/a>, have been stellar. \u003c/p>\n\u003cp>The added performance had been rumored after a \u003ca href=\"https://pbs.twimg.com/media/CccZ3S_UkAEFMSP.jpg:large\" target=\"_blank\" rel=\"noopener\">Ticketmaster screengrab\u003c/a> leaked on social media, showing a ticket onsale at noon. However, as confirmed by promoter Live Nation, the show’s ticket onsale is 4pm. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a weekend of two \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">sold-out shows\u003c/a> at the Paramount Theatre in Oakland, Prince is back for more: he plays a last-minute show at the Oracle Arena this Friday, March 4. Tickets go on sale \u003ca href=\"http://www.ticketmaster.com/prince-piano-and-a-microphone-oakland-california-03-04-2016/event/1C00505C06753CD4?artistid=735895&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener\">at 4pm today\u003c/a>, Tuesday, March 1, at \u003ca href=\"http://www.ticketmaster.com/prince-piano-and-a-microphone-oakland-california-03-04-2016/event/1C00505C06753CD4?artistid=735895&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener\">this ticket link right here\u003c/a>.\u003c/p>\n\u003cp>Tickets are priced at $49.50, $99.50, $199.50 and $275. (“Gold Circle” seats run $500.) Just as with the Paramount Theatre shows, \u003ca href=\"http://www.ticketmaster.com/creditcardentry\" target=\"_blank\" rel=\"noopener\">paperless ticketing\u003c/a> is in effect; in an effort to deter scalpers, ticket buyers must bring the credit or debit card used to purchase tickets, swipe the card at the door, and be ushered into the venue.\u003c/p>\n\u003cp>The 9pm performance is billed as in-the-round, with Prince’s recent solo “Piano & a Microphone” format. Reviews of the casual, intimate show, \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">including our own\u003c/a>, have been stellar. \u003c/p>\n\u003cp>The added performance had been rumored after a \u003ca href=\"https://pbs.twimg.com/media/CccZ3S_UkAEFMSP.jpg:large\" target=\"_blank\" rel=\"noopener\">Ticketmaster screengrab\u003c/a> leaked on social media, showing a ticket onsale at noon. However, as confirmed by promoter Live Nation, the show’s ticket onsale is 4pm. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Carly, Vince and Kamasi: A Tale of Three Noise Pop Shows",
"headTitle": "Carly, Vince and Kamasi: A Tale of Three Noise Pop Shows | KQED",
"content": "\u003cp>Okay, so maybe the Noise Pop show to see this year really \u003cem>was\u003c/em> Drive Like Jehu? At least, if you accept the word of the band’s rabid fan base as law. “OMG BEST SHOW EVER,” “Nobody comes close – Jehu is God” and “Drive Like Jehu!! So amazing!!!” are three real \u003ca href=\"https://twitter.com/danielnazer/status/703514339370622976\" target=\"_blank\" rel=\"noopener\">status updates\u003c/a> from my own social media feed.\u003c/p>\n\u003cp>But you can only go to so many shows, especially when \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> decides to crash the Noise Pop party with a \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">last-minute show in Oakland\u003c/a>. This year we also \u003ca href=\"http://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">strongly welcomed\u003c/a> the long-running festival’s branching out into jazz and hip-hop, as well as booking female-fronted acts when other festivals still seem \u003ca href=\"http://www.slate.com/blogs/browbeat/2015/01/09/coachella_2015_lineup_this_year_s_brochella_festival_isn_t_any_better_for.html\" target=\"_blank\" rel=\"noopener\">clueless on the concept\u003c/a>.\u003c/p>\n\u003cp>So here’s to Noise Pop’s three major shows that weren’t four white guys with guitars: namely, Kamasi Washington at the Independent, Carly Rae Jepsen at the Warfield, and Vince Staples at the Social Hall SF.\u003c/p>\n\u003cfigure id=\"attachment_11370082\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-800x450.jpg\" alt=\"Kamasi Washington at the Independent, Feb. 25, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington at the Independent, Feb. 25, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kamasi Washington: What Jazz Needs Right Now\u003c/h3>\n\u003cp>It wasn’t just that within the first 10 minutes of Kamasi Washington’s set, I already wished that my family and friends and everyone I loved were with me, experiencing the same transcendence. It wasn’t just the series of climaxes reached by Washington’s eight-piece band, or the ceiling parting and rays of holy light shining down. It wasn’t just the feeling of family, literal and otherwise, on the stage, or the evident decades of shared experience among the players.\u003c/p>\n\u003cp>No, it was the fact that Kamasi Washington was playing to his new crowd, which is to say a new-to-jazz crowd, one that discovered his latest album \u003cem>The Epic\u003c/em> through his association with Kendrick Lamar, or through indie-rock blogs, or through the electronic-heavy imprimatur of Brainfeeder Records. The jazz establishment tends to view Washington’s music as a stylistic retread of spiritual jazz, and that’s true; \u003cem>The Epic\u003c/em> essentially sounds like an Impulse Records album from the early 1970s. But if that same establishment could understand what Washington is doing for jazz, they might stop endlessly wringing their hands over how to attract a new generation to an art form perennially declared to be dying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s how you do it. Don’t play in concert halls. Don’t play in auditoriums or college theaters. Play this music in clubs, with a general-admission standing floor. Take away all stuffiness, all rules, all two-drink minimums. Play this music loud and proud to a room of people beaming, dancing, soaking in a new experience, a room that’s housed Mos Def and Major Lazer and DJ Shadow and Wilco and M.I.A. That’s how Kamasi Washington is doing it. Jazz today couldn’t ask for a better ambassador. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11370083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/CarlyRae1-800x450.jpg\" alt=\"Carly Rae Jepsen.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen. \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Carly Rae Jepsen: A Guilt-Free Celebration of Saccharine Pop\u003c/h3>\n\u003cp>Carly Rae Jepsen has a cold. She’s sorry about it; she makes sure to say this a few times. But if any of these 2,000 people at the Warfield mind, they ain’t showing it. They’re dancing in the balconies, leaning over the railing, wearing custom-made glitter CRJ shirts they’ve coordinated with their friends, belting the lyrics to “Emotion” back at their pint-size queen with all the giddy, overblown yet somehow intimate madness of a slumber party high on pixie sticks.\u003c/p>\n\u003cp>It helps, of course, that she sounds good. Her 2015 album \u003cem>E•MO•TION\u003c/em> is a guilty-pleasure piece of candy in and of itself, a love letter to ’80s Madonna but with all the overproduced sheen of, well, a 2015 pop album produced by Justin Bieber and Scooter Braun. So it was a pleasant surprise to realize her voice is much stronger than that level of digitization usually implies. Wearing a baggy T-shirt over fishnet tights, backed by an enthusiastic five-dude band, she dutifully churned through the hits — “Run Away With Me,” the so-dumb-it’s-brilliant “I Really Like You,” “Boy Problems,” and, of course, “Call Me Maybe,” with layers of harmony vocals supporting each anthemic wail.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1NImu3Q9Qv4\u003c/p>\n\u003cp>If there was a misstep, it was that she failed to realize being in San Francisco meant she was almost legally required to perform the theme from “Fuller House,” which she was tasked with upgrading for its 2016 reboot, and which debuted on Netflix this weekend. Lucky for you, if you really, really, really, really want to, you can just listen to that above. No discussion of congestion issues necessary. — \u003cem>Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11370084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/VinceStaples-800x450.jpg\" alt=\"Vince Staples at Social Hal SF, Feb. 26, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vince Staples at Social Hal SF, Feb. 26, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Vince Staples: Playing the Crowd Like an Orchestra\u003c/h3>\n\u003cp>No, no, I don’t mean “playing the crowd” to mean “playing to the crowd.” Playing \u003cem>to\u003c/em> the crowd is the endless stream of “errybody feelin all right in the place tonight make some nooooise” and “raise your hands in the air one time right now,” that tried-and-true patter that’s lasted 30 years and shows no sign of shriveling up and dying. Vince Staples plays the crowd in the same way that DJ Khaled would have you believe that \u003ca href=\"https://www.youtube.com/watch?v=Lr7CKWxqhtw\" target=\"_blank\" rel=\"noopener\">you played yourself\u003c/a>. Vince Staples knows that you are young and white and likely did not come up in hip-hop but rather stumbled upon his music on Pitchfork. Vince Staples will throw that fact right back in your face instead of pandering to it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s exactly why Staples is refreshing — the equivalent of your snarky friend whose sarcasm underlines obvious truths that no one else talks about. In San Francisco, he announced he wanted people to go out and commit murder after a Vince Staples show and, when the inevitable cheer arose, said “See? That’s what’s wrong with the world, y’all cheering for that.” He talked about the last time he came to SF and promptly bailed to chill in Oakland instead. His DJ talked about wanting to visit Vallejo. It was not hard to see what was going on here: his new fanbase enjoys living vicariously through his grim stories of the streets in Long Beach, sensationalizing all of the excitement and internalizing none of the tragedy. How bizarre it must be to perform a reflective, sad album for an audience that uses it instead as a springboard for mental role-playing. Best to use that audience right back. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\n",
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"excerpt": "This year's Noise Pop festival found Kamasi Washington spreading the gospel, Carly Rae Jepsen indulging in sugar-coated pop and Vince Staples playing the crowd.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Okay, so maybe the Noise Pop show to see this year really \u003cem>was\u003c/em> Drive Like Jehu? At least, if you accept the word of the band’s rabid fan base as law. “OMG BEST SHOW EVER,” “Nobody comes close – Jehu is God” and “Drive Like Jehu!! So amazing!!!” are three real \u003ca href=\"https://twitter.com/danielnazer/status/703514339370622976\" target=\"_blank\" rel=\"noopener\">status updates\u003c/a> from my own social media feed.\u003c/p>\n\u003cp>But you can only go to so many shows, especially when \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> decides to crash the Noise Pop party with a \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">last-minute show in Oakland\u003c/a>. This year we also \u003ca href=\"http://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">strongly welcomed\u003c/a> the long-running festival’s branching out into jazz and hip-hop, as well as booking female-fronted acts when other festivals still seem \u003ca href=\"http://www.slate.com/blogs/browbeat/2015/01/09/coachella_2015_lineup_this_year_s_brochella_festival_isn_t_any_better_for.html\" target=\"_blank\" rel=\"noopener\">clueless on the concept\u003c/a>.\u003c/p>\n\u003cp>So here’s to Noise Pop’s three major shows that weren’t four white guys with guitars: namely, Kamasi Washington at the Independent, Carly Rae Jepsen at the Warfield, and Vince Staples at the Social Hall SF.\u003c/p>\n\u003cfigure id=\"attachment_11370082\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-800x450.jpg\" alt=\"Kamasi Washington at the Independent, Feb. 25, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington at the Independent, Feb. 25, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kamasi Washington: What Jazz Needs Right Now\u003c/h3>\n\u003cp>It wasn’t just that within the first 10 minutes of Kamasi Washington’s set, I already wished that my family and friends and everyone I loved were with me, experiencing the same transcendence. It wasn’t just the series of climaxes reached by Washington’s eight-piece band, or the ceiling parting and rays of holy light shining down. It wasn’t just the feeling of family, literal and otherwise, on the stage, or the evident decades of shared experience among the players.\u003c/p>\n\u003cp>No, it was the fact that Kamasi Washington was playing to his new crowd, which is to say a new-to-jazz crowd, one that discovered his latest album \u003cem>The Epic\u003c/em> through his association with Kendrick Lamar, or through indie-rock blogs, or through the electronic-heavy imprimatur of Brainfeeder Records. The jazz establishment tends to view Washington’s music as a stylistic retread of spiritual jazz, and that’s true; \u003cem>The Epic\u003c/em> essentially sounds like an Impulse Records album from the early 1970s. But if that same establishment could understand what Washington is doing for jazz, they might stop endlessly wringing their hands over how to attract a new generation to an art form perennially declared to be dying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s how you do it. Don’t play in concert halls. Don’t play in auditoriums or college theaters. Play this music in clubs, with a general-admission standing floor. Take away all stuffiness, all rules, all two-drink minimums. Play this music loud and proud to a room of people beaming, dancing, soaking in a new experience, a room that’s housed Mos Def and Major Lazer and DJ Shadow and Wilco and M.I.A. That’s how Kamasi Washington is doing it. Jazz today couldn’t ask for a better ambassador. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11370083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/CarlyRae1-800x450.jpg\" alt=\"Carly Rae Jepsen.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen. \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Carly Rae Jepsen: A Guilt-Free Celebration of Saccharine Pop\u003c/h3>\n\u003cp>Carly Rae Jepsen has a cold. She’s sorry about it; she makes sure to say this a few times. But if any of these 2,000 people at the Warfield mind, they ain’t showing it. They’re dancing in the balconies, leaning over the railing, wearing custom-made glitter CRJ shirts they’ve coordinated with their friends, belting the lyrics to “Emotion” back at their pint-size queen with all the giddy, overblown yet somehow intimate madness of a slumber party high on pixie sticks.\u003c/p>\n\u003cp>It helps, of course, that she sounds good. Her 2015 album \u003cem>E•MO•TION\u003c/em> is a guilty-pleasure piece of candy in and of itself, a love letter to ’80s Madonna but with all the overproduced sheen of, well, a 2015 pop album produced by Justin Bieber and Scooter Braun. So it was a pleasant surprise to realize her voice is much stronger than that level of digitization usually implies. Wearing a baggy T-shirt over fishnet tights, backed by an enthusiastic five-dude band, she dutifully churned through the hits — “Run Away With Me,” the so-dumb-it’s-brilliant “I Really Like You,” “Boy Problems,” and, of course, “Call Me Maybe,” with layers of harmony vocals supporting each anthemic wail.\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/1NImu3Q9Qv4'\n title='//www.youtube.com/embed/1NImu3Q9Qv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If there was a misstep, it was that she failed to realize being in San Francisco meant she was almost legally required to perform the theme from “Fuller House,” which she was tasked with upgrading for its 2016 reboot, and which debuted on Netflix this weekend. Lucky for you, if you really, really, really, really want to, you can just listen to that above. No discussion of congestion issues necessary. — \u003cem>Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11370084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/VinceStaples-800x450.jpg\" alt=\"Vince Staples at Social Hal SF, Feb. 26, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vince Staples at Social Hal SF, Feb. 26, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Vince Staples: Playing the Crowd Like an Orchestra\u003c/h3>\n\u003cp>No, no, I don’t mean “playing the crowd” to mean “playing to the crowd.” Playing \u003cem>to\u003c/em> the crowd is the endless stream of “errybody feelin all right in the place tonight make some nooooise” and “raise your hands in the air one time right now,” that tried-and-true patter that’s lasted 30 years and shows no sign of shriveling up and dying. Vince Staples plays the crowd in the same way that DJ Khaled would have you believe that \u003ca href=\"https://www.youtube.com/watch?v=Lr7CKWxqhtw\" target=\"_blank\" rel=\"noopener\">you played yourself\u003c/a>. Vince Staples knows that you are young and white and likely did not come up in hip-hop but rather stumbled upon his music on Pitchfork. Vince Staples will throw that fact right back in your face instead of pandering to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s exactly why Staples is refreshing — the equivalent of your snarky friend whose sarcasm underlines obvious truths that no one else talks about. In San Francisco, he announced he wanted people to go out and commit murder after a Vince Staples show and, when the inevitable cheer arose, said “See? That’s what’s wrong with the world, y’all cheering for that.” He talked about the last time he came to SF and promptly bailed to chill in Oakland instead. His DJ talked about wanting to visit Vallejo. It was not hard to see what was going on here: his new fanbase enjoys living vicariously through his grim stories of the streets in Long Beach, sensationalizing all of the excitement and internalizing none of the tragedy. How bizarre it must be to perform a reflective, sad album for an audience that uses it instead as a springboard for mental role-playing. Best to use that audience right back. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
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