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"content": "\u003cp>Are you \u003ca href=\"https://www.youtube.com/watch?v=QmQFz3WugQE\" target=\"_blank\" rel=\"noopener\">ready for some football\u003c/a>?!\u003c/p>\n\u003cp>Yes, after months of the Bay Area waiting, planning, complaining (and eventually registering complaints in the form of \u003ca href=\"http://ww2.kqed.org/pop/2016/02/01/san-francisco-spirit-alive-and-kicking-in-super-bowl-anagrams/\" target=\"_blank\" rel=\"noopener\">lighthearted vandalism\u003c/a>), Super Bowl 50 is finally upon us. And while admission to the game and many of its adjacent events is anything but cheap (\u003ca href=\"http://www.stubhub.com/super-bowl-party-tickets-directv-super-saturday-night---vip-only-san-francisco-pier-70-san-francisco-2-6-2016/event/9493513/\" target=\"_blank\" rel=\"noopener\">Red Hot Chili Peppers for $1300 and up\u003c/a>, anyone?), it’s also true that, should you feel like braving the crowds to check out the weird pop-up football Disneyland of sorts that is \u003ca href=\"http://www.sfbaysuperbowl.com/super-bowl-city#vZouD5Gl8oiGKzMY.97\" target=\"_blank\" rel=\"noopener\">Super Bowl City\u003c/a>, you’ll be rewarded with free entertainment options galore.\u003c/p>\n\u003cp>Most notably, there will be \u003cstrong>lots and lots of puppies.\u003c/strong> Yes, from this Thursday, Feb. 4 through Sunday, Feb. 7, every non-football fan’s favorite thing about the Super Bowl is happening live. Ahead of Animal Planet’s actual televised \u003ca href=\"http://www.animalplanet.com/tv-shows/puppy-bowl/\" target=\"_blank\" rel=\"noopener\">\u003cem>Puppy Bowl\u003c/em>\u003c/a>, a sort of puppy pop-up called the \u003ca href=\"http://sfist.com/2016/01/29/live_puppy_bowl_arrives_in_sf_next.php\" target=\"_blank\" rel=\"noopener\">Puppy Bowl Cafe\u003c/a> will take place every day from 11am to 8pm at \u003ca href=\"http://gotts.com/location-sf-ferry-building/\" target=\"_blank\" rel=\"noopener\">Gott’s Roadside\u003c/a> in the Ferry Building. (As a friend who works nearby put it: “Okay I’m not mad at the Super Bowl anymore.”) Bonus! All puppies are up for adoption — and at half-off the normal rate, thanks to the East Bay SPCA and San Francisco Animal Care and Control.\u003ca href=\"http://www.sfstation.com/animal-planets-puppy-bowl-in-san-francisco-e2291419\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>If, on the other hand, you’re not interested in going anywhere near a place with the words “Super Bowl” emblazoned on it? We’ve got you covered, too. Here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11296346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC-400x267.jpg\" alt=\"scarlett-johansson-ghost-world-GC\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC.jpg 618w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Feb. 3: \u003cem>Ghost World\u003c/em> with Illeana Douglas and Terry Zwigoff at the Alamo Drafthouse, SF. \u003c/strong>Based on the offbeat, deeply human, and award-winning graphic novel of the same name by Oakland’s Daniel Clowes, this 2001 film adaptation by Terry Zwigoff didn’t go far at the box office — but its fan base has only grown as years have passed. It’s not hard to see why: young Thora Birch and Scarlett Johanssen perfectly capture the ambivalence and disgruntlement of being 18, while Steve Buscemi plays a very endearing version of Steve Buscemi. Q&A with the director and the underrated actress Douglas will follow. $13.25; \u003ca href=\"https://drafthouse.com/sf/show/ghost-world-with-illeana-douglas-and-terry-zwigoff\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5nO7IA1DeeI\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 6: Dilla Day Hip-Hop Celebration at Mighty, SF. \u003c/strong>Few individuals have shaped the sound of hip-hop over the last two decades like rapper-producer J Dilla — which is really saying something considering he died at just 32 years old from a rare blood disease in 2006. Everyone from Busta Rhymes to Erykah Badu to Kendrick Lamar to jazz pianist Robert Glasper — all of whom have penned or performed tributes to Dilla — would tell you the same. Pay tribute in your own way at this annual party, which takes place in major cities around the U.S. on or around his birthday (Feb. 7). This night includes a slew of West Coast DJs, featuring J Rocc, one of Dilla’s closest collaborators. Free before 11am with RSVP, $15 after; \u003ca href=\"http://www.eventbrite.com/e/dilla-day-2016-sf-mighty-26-tickets-20491069340\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rywUS-ohqeE\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 6: Alicia Keys at Super Bowl City, SF. \u003c/strong>Okay, sorry, one more for the “it miiiight be worth it to head downtown into that mess” files — a free show from Alicia Keys, the singer-songwriter-pianist powerhouse who first captured the world’s attention with her 2001 album \u003cem>Songs in A Minor,\u003c/em> is pretty hard to pass up. Keys’ long-awaited sixth studio album is forthcoming in 2016, so if we’re lucky, we might get to hear some new material alongside the vocal chord gymnastics of hits like “Fallin’,” “Girl On Fire,” “No One,”….and on and on and on. You get the idea. Free; \u003ca href=\"http://www.sfbaysuperbowl.com/calendar/events/alicia-keys-at-the-city-stage-presented-by-levis#bAiuEEVAGSX1gjyv.97\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HPM0NCe9dIU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Monday, Feb. 8: \u003cem>East Side Sushi\u003c/em> at the Grand Lake Theater, Oakland. \u003c/strong>This award-winning 2014 film, chronicling the rise of an unlikely sushi chef, has Oakland stamped all over: It takes place there, it was shot there, its writer-director, Anthony Lucero, is East Oakland born-and-raised. So it only makes sense to catch it on the big screen for one last time at Oakland’s historic Grand Lake Theater, with a Q&A featuring Lucero to follow. $11; \u003ca href=\"http://renaissancerialto.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are you \u003ca href=\"https://www.youtube.com/watch?v=QmQFz3WugQE\" target=\"_blank\" rel=\"noopener\">ready for some football\u003c/a>?!\u003c/p>\n\u003cp>Yes, after months of the Bay Area waiting, planning, complaining (and eventually registering complaints in the form of \u003ca href=\"http://ww2.kqed.org/pop/2016/02/01/san-francisco-spirit-alive-and-kicking-in-super-bowl-anagrams/\" target=\"_blank\" rel=\"noopener\">lighthearted vandalism\u003c/a>), Super Bowl 50 is finally upon us. And while admission to the game and many of its adjacent events is anything but cheap (\u003ca href=\"http://www.stubhub.com/super-bowl-party-tickets-directv-super-saturday-night---vip-only-san-francisco-pier-70-san-francisco-2-6-2016/event/9493513/\" target=\"_blank\" rel=\"noopener\">Red Hot Chili Peppers for $1300 and up\u003c/a>, anyone?), it’s also true that, should you feel like braving the crowds to check out the weird pop-up football Disneyland of sorts that is \u003ca href=\"http://www.sfbaysuperbowl.com/super-bowl-city#vZouD5Gl8oiGKzMY.97\" target=\"_blank\" rel=\"noopener\">Super Bowl City\u003c/a>, you’ll be rewarded with free entertainment options galore.\u003c/p>\n\u003cp>Most notably, there will be \u003cstrong>lots and lots of puppies.\u003c/strong> Yes, from this Thursday, Feb. 4 through Sunday, Feb. 7, every non-football fan’s favorite thing about the Super Bowl is happening live. Ahead of Animal Planet’s actual televised \u003ca href=\"http://www.animalplanet.com/tv-shows/puppy-bowl/\" target=\"_blank\" rel=\"noopener\">\u003cem>Puppy Bowl\u003c/em>\u003c/a>, a sort of puppy pop-up called the \u003ca href=\"http://sfist.com/2016/01/29/live_puppy_bowl_arrives_in_sf_next.php\" target=\"_blank\" rel=\"noopener\">Puppy Bowl Cafe\u003c/a> will take place every day from 11am to 8pm at \u003ca href=\"http://gotts.com/location-sf-ferry-building/\" target=\"_blank\" rel=\"noopener\">Gott’s Roadside\u003c/a> in the Ferry Building. (As a friend who works nearby put it: “Okay I’m not mad at the Super Bowl anymore.”) Bonus! All puppies are up for adoption — and at half-off the normal rate, thanks to the East Bay SPCA and San Francisco Animal Care and Control.\u003ca href=\"http://www.sfstation.com/animal-planets-puppy-bowl-in-san-francisco-e2291419\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>If, on the other hand, you’re not interested in going anywhere near a place with the words “Super Bowl” emblazoned on it? We’ve got you covered, too. Here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11296346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC-400x267.jpg\" alt=\"scarlett-johansson-ghost-world-GC\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC.jpg 618w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Feb. 3: \u003cem>Ghost World\u003c/em> with Illeana Douglas and Terry Zwigoff at the Alamo Drafthouse, SF. \u003c/strong>Based on the offbeat, deeply human, and award-winning graphic novel of the same name by Oakland’s Daniel Clowes, this 2001 film adaptation by Terry Zwigoff didn’t go far at the box office — but its fan base has only grown as years have passed. It’s not hard to see why: young Thora Birch and Scarlett Johanssen perfectly capture the ambivalence and disgruntlement of being 18, while Steve Buscemi plays a very endearing version of Steve Buscemi. Q&A with the director and the underrated actress Douglas will follow. $13.25; \u003ca href=\"https://drafthouse.com/sf/show/ghost-world-with-illeana-douglas-and-terry-zwigoff\" target=\"_blank\" rel=\"noopener\">details 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/5nO7IA1DeeI'\n title='//www.youtube.com/embed/5nO7IA1DeeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Feb. 6: Dilla Day Hip-Hop Celebration at Mighty, SF. \u003c/strong>Few individuals have shaped the sound of hip-hop over the last two decades like rapper-producer J Dilla — which is really saying something considering he died at just 32 years old from a rare blood disease in 2006. Everyone from Busta Rhymes to Erykah Badu to Kendrick Lamar to jazz pianist Robert Glasper — all of whom have penned or performed tributes to Dilla — would tell you the same. Pay tribute in your own way at this annual party, which takes place in major cities around the U.S. on or around his birthday (Feb. 7). This night includes a slew of West Coast DJs, featuring J Rocc, one of Dilla’s closest collaborators. Free before 11am with RSVP, $15 after; \u003ca href=\"http://www.eventbrite.com/e/dilla-day-2016-sf-mighty-26-tickets-20491069340\" target=\"_blank\" rel=\"noopener\">details 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/rywUS-ohqeE'\n title='//www.youtube.com/embed/rywUS-ohqeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Feb. 6: Alicia Keys at Super Bowl City, SF. \u003c/strong>Okay, sorry, one more for the “it miiiight be worth it to head downtown into that mess” files — a free show from Alicia Keys, the singer-songwriter-pianist powerhouse who first captured the world’s attention with her 2001 album \u003cem>Songs in A Minor,\u003c/em> is pretty hard to pass up. Keys’ long-awaited sixth studio album is forthcoming in 2016, so if we’re lucky, we might get to hear some new material alongside the vocal chord gymnastics of hits like “Fallin’,” “Girl On Fire,” “No One,”….and on and on and on. You get the idea. Free; \u003ca href=\"http://www.sfbaysuperbowl.com/calendar/events/alicia-keys-at-the-city-stage-presented-by-levis#bAiuEEVAGSX1gjyv.97\" target=\"_blank\" rel=\"noopener\">details 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/HPM0NCe9dIU'\n title='//www.youtube.com/embed/HPM0NCe9dIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Monday, Feb. 8: \u003cem>East Side Sushi\u003c/em> at the Grand Lake Theater, Oakland. \u003c/strong>This award-winning 2014 film, chronicling the rise of an unlikely sushi chef, has Oakland stamped all over: It takes place there, it was shot there, its writer-director, Anthony Lucero, is East Oakland born-and-raised. So it only makes sense to catch it on the big screen for one last time at Oakland’s historic Grand Lake Theater, with a Q&A featuring Lucero to follow. $11; \u003ca href=\"http://renaissancerialto.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Snoop Dogg's Musical Gear Reportedly Stolen in San Francisco [UPDATED]",
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"content": "\u003cp>\u003cstrong>UPDATED:\u003c/strong> \u003cem>Feb. 4, 12:10am\u003c/em>\u003c/p>\n\u003cp>Rapper Snoop Dogg’s stage gear was reportedly stolen from an SUV parked in San Francisco Monday night, one day before he began a series of concerts and DJ sets around the Bay Area. \u003c/p>\n\u003cp>Parked on a San Francisco street with laptops, luggage and other gear inside, \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-burglary-concert-equipment/\" target=\"_blank\" rel=\"noopener\">law enforcement sources told TMZ\u003c/a> that the SUV was robbed clean after someone broke one of the vehicle’s windows. \u003c/p>\n\u003cp>The reports of Snoop Dogg’s equipment being stolen came out just before his live dates in the Bay Area coinciding with Super Bowl 50. They include shows at San Francisco’s Regency Ballroom Tuesday night, followed by the \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> on Wednesday and \u003ca href=\"http://www.catalystclub.com/event/1054277-snoop-dogg-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Santa Cruz’s Catalyst Club\u003c/a> on Friday. Other scheduled appearances include a party Friday at the W Hotel; Saturday’s \u003ca href=\"http://www.nbcbayarea.com/news/local/Snoop-Doggs-Youth-Football-League-Presents-Snooper-Bowl-at-San-Jose-City-College-367280361.html\" target=\"_blank\" rel=\"noopener\">“Snooper Bowl” at San Jose City College\u003c/a>; and a DJ performance at \u003ca href=\"http://www.eventbrite.com/e/dj-snoopadelic-aka-snoop-dog-super-bowl-50-sunday-tickets-21067885613\" target=\"_blank\" rel=\"noopener\">San Francisco dance club Ruby Skye\u003c/a> on Feb. 7. No shows appear to be canceled, according to the venue’s websites.\u003c/p>\n\u003cp>A rapper with a 35-year career that began with an appearance on the Dr. Dre-penned theme song for \u003ca href=\"https://www.youtube.com/watch?v=uo3rZjJB1hY\" target=\"_blank\" rel=\"noopener\">the 1992 film \u003ci>Deep Cover\u003c/i>\u003c/a>, Snoop Dogg has had several hit songs over the years, including 1994’s “Gin and Juice” and 2004’s “Drop It Like It’s Hot.” He has also appeared in several movies and television shows, and has appeared on songs by pop artists such as Katy Perry and Gorillaz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Band van break-ins occur often in San Francisco, with the past year and a half alone seeing reports of theft in the city from \u003ca href=\"http://www.sfweekly.com/shookdown/2014/12/01/emergency-funk-help-afrolicious-recover-their-stolen-gear\" target=\"_blank\" rel=\"noopener\">Afrolicious\u003c/a>, the \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">Warlocks\u003c/a>, \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">L.A. Drugz\u003c/a>, \u003ca href=\"http://www.brooklynvegan.com/archives/2015/11/jeff_rosenstock_5.html\" target=\"_blank\" rel=\"noopener\">Jeff Rosetnstock\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/12/17/news/bitter-ends-van-broken-into-in-san-francisco-ca-personal-items-stolen/\" target=\"_blank\" rel=\"noopener\">Bitter End\u003c/a>, \u003ca href=\"http://www.altpress.com/news/entry/seaway_pure_noise_records_robbed_in_san_francisco\" target=\"_blank\" rel=\"noopener\">Seaway\u003c/a>, \u003ca href=\"http://liveforlivemusic.com/news/someone-broke-into-fruitions-van-and-stole-mimi-najas-mandolin/\" target=\"_blank\" rel=\"noopener\">Fruition\u003c/a>, \u003ca href=\"https://www.facebook.com/PUJOLDOTCOM/posts/965896740103766\" target=\"_blank\" rel=\"noopener\">Pujol\u003c/a>, \u003ca href=\"http://www.metropolis-records.com/news/?id=148\" target=\"_blank\" rel=\"noopener\">God Module\u003c/a>, \u003ca href=\"http://www.thevinyldistrict.com/neworleans/2015/06/tvd-recommends-pack-van-benefit-concert-hildegard-howlin-wolf-612/\" target=\"_blank\" rel=\"noopener\">Hildegarde\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/04/09/news/scare-dont-fears-van-broken-into-during-san-francisco-ca-show/\" target=\"_blank\" rel=\"noopener\">Scare Don’t Fear\u003c/a>, and \u003ca href=\"http://live105.cbslocal.com/2015/05/27/waters-van-and-trailer-were-burglarized-last-night-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Waters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>UPDATE:\u003c/i> Snoop Dogg has taken to \u003ca href=\"https://www.instagram.com/p/BBTeV2Dv9HI/\" target=\"_blank\" rel=\"noopener\">Instagram to deny TMZ’s report\u003c/a>. \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-concert-gear-burglary/\" target=\"_blank\" rel=\"noopener\">TMZ has updated their story\u003c/a> to defend their reporting against Snoop’s claims.\u003c/p>\n\n",
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"description": "UPDATED: Feb. 4, 12:10am Rapper Snoop Dogg's stage gear was reportedly stolen from an SUV parked in San Francisco Monday night, one day before he began a series of concerts and DJ sets around the Bay Area. Parked on a San Francisco street with laptops, luggage and other gear inside, law enforcement sources told TMZ that the SUV was robbed clean after someone broke one of the vehicle's windows. The reports of Snoop Dogg's equipment being stolen came out just before his live dates in the Bay Area coinciding with Super Bowl 50. They include shows at San Francisco's Regency",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATED:\u003c/strong> \u003cem>Feb. 4, 12:10am\u003c/em>\u003c/p>\n\u003cp>Rapper Snoop Dogg’s stage gear was reportedly stolen from an SUV parked in San Francisco Monday night, one day before he began a series of concerts and DJ sets around the Bay Area. \u003c/p>\n\u003cp>Parked on a San Francisco street with laptops, luggage and other gear inside, \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-burglary-concert-equipment/\" target=\"_blank\" rel=\"noopener\">law enforcement sources told TMZ\u003c/a> that the SUV was robbed clean after someone broke one of the vehicle’s windows. \u003c/p>\n\u003cp>The reports of Snoop Dogg’s equipment being stolen came out just before his live dates in the Bay Area coinciding with Super Bowl 50. They include shows at San Francisco’s Regency Ballroom Tuesday night, followed by the \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> on Wednesday and \u003ca href=\"http://www.catalystclub.com/event/1054277-snoop-dogg-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Santa Cruz’s Catalyst Club\u003c/a> on Friday. Other scheduled appearances include a party Friday at the W Hotel; Saturday’s \u003ca href=\"http://www.nbcbayarea.com/news/local/Snoop-Doggs-Youth-Football-League-Presents-Snooper-Bowl-at-San-Jose-City-College-367280361.html\" target=\"_blank\" rel=\"noopener\">“Snooper Bowl” at San Jose City College\u003c/a>; and a DJ performance at \u003ca href=\"http://www.eventbrite.com/e/dj-snoopadelic-aka-snoop-dog-super-bowl-50-sunday-tickets-21067885613\" target=\"_blank\" rel=\"noopener\">San Francisco dance club Ruby Skye\u003c/a> on Feb. 7. No shows appear to be canceled, according to the venue’s websites.\u003c/p>\n\u003cp>A rapper with a 35-year career that began with an appearance on the Dr. Dre-penned theme song for \u003ca href=\"https://www.youtube.com/watch?v=uo3rZjJB1hY\" target=\"_blank\" rel=\"noopener\">the 1992 film \u003ci>Deep Cover\u003c/i>\u003c/a>, Snoop Dogg has had several hit songs over the years, including 1994’s “Gin and Juice” and 2004’s “Drop It Like It’s Hot.” He has also appeared in several movies and television shows, and has appeared on songs by pop artists such as Katy Perry and Gorillaz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Band van break-ins occur often in San Francisco, with the past year and a half alone seeing reports of theft in the city from \u003ca href=\"http://www.sfweekly.com/shookdown/2014/12/01/emergency-funk-help-afrolicious-recover-their-stolen-gear\" target=\"_blank\" rel=\"noopener\">Afrolicious\u003c/a>, the \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">Warlocks\u003c/a>, \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">L.A. Drugz\u003c/a>, \u003ca href=\"http://www.brooklynvegan.com/archives/2015/11/jeff_rosenstock_5.html\" target=\"_blank\" rel=\"noopener\">Jeff Rosetnstock\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/12/17/news/bitter-ends-van-broken-into-in-san-francisco-ca-personal-items-stolen/\" target=\"_blank\" rel=\"noopener\">Bitter End\u003c/a>, \u003ca href=\"http://www.altpress.com/news/entry/seaway_pure_noise_records_robbed_in_san_francisco\" target=\"_blank\" rel=\"noopener\">Seaway\u003c/a>, \u003ca href=\"http://liveforlivemusic.com/news/someone-broke-into-fruitions-van-and-stole-mimi-najas-mandolin/\" target=\"_blank\" rel=\"noopener\">Fruition\u003c/a>, \u003ca href=\"https://www.facebook.com/PUJOLDOTCOM/posts/965896740103766\" target=\"_blank\" rel=\"noopener\">Pujol\u003c/a>, \u003ca href=\"http://www.metropolis-records.com/news/?id=148\" target=\"_blank\" rel=\"noopener\">God Module\u003c/a>, \u003ca href=\"http://www.thevinyldistrict.com/neworleans/2015/06/tvd-recommends-pack-van-benefit-concert-hildegard-howlin-wolf-612/\" target=\"_blank\" rel=\"noopener\">Hildegarde\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/04/09/news/scare-dont-fears-van-broken-into-during-san-francisco-ca-show/\" target=\"_blank\" rel=\"noopener\">Scare Don’t Fear\u003c/a>, and \u003ca href=\"http://live105.cbslocal.com/2015/05/27/waters-van-and-trailer-were-burglarized-last-night-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Waters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>UPDATE:\u003c/i> Snoop Dogg has taken to \u003ca href=\"https://www.instagram.com/p/BBTeV2Dv9HI/\" target=\"_blank\" rel=\"noopener\">Instagram to deny TMZ’s report\u003c/a>. \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-concert-gear-burglary/\" target=\"_blank\" rel=\"noopener\">TMZ has updated their story\u003c/a> to defend their reporting against Snoop’s claims.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \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=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \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=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.sfjazz.org/events/2015-16/0219/champion\" target=\"_blank\">Terence Blanchard's Champion: An Opera in Jazz \u003c/a>is a groundbreaking fully-staged opera about the real-life story of Emile Griffith, a world champion boxer who killed rival Benny Paret in their 1962 title match after Paret mocked him as a closeted homosexual. Following the fight, Griffith spent the rest of his life questioning himself and a society that would accept his accidental killing of a fellow athlete, but not his sexuality. Featuring baritone Arthur Woodley, bass-baritone Kenneth Kellogg, 30-piece orchestra, chorus, dancers, elaborate staging, costumes, video projections, a jazz trio and more! Co-presented by SFJAZZ & Opera Parallèle this is a West Coast premiere.\u003c/p>\n\u003cp>\u003cstrong>We've got a pair of tickets (worth $75 each) to give away! \u003c/strong>For your chance to win, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Champion\" that contains your full name.\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select a winner to receive two tickets (worth $75 per ticket.) \u003cstrong>Deadline to enter is Tuesday, Feb 16 at 9am.\u003c/strong> Winners will be notified by e-mail on Tuesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/events/2015-16/0219/champion\" target=\"_blank\">\u003cstrong>\u003cu>Terence Blanchard's Champion: An Opera in Jazz\u003c/u>\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong style=\"line-height: 1.5\">\u003cstrong>7:30 pm, Sunday, February 21\u003cbr>\n\u003c/strong>\u003c/strong>\u003cstrong>SFJAZZ Center, 201 Franklin Street, San Francisco, CA 94102\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sfjazz.org/events/2015-16/0219/champion\" target=\"_blank\">Terence Blanchard's Champion: An Opera in Jazz \u003c/a>is a groundbreaking fully-staged opera about the real-life story of Emile Griffith, a world champion boxer who killed rival Benny Paret in their 1962 title match after Paret mocked him as a closeted homosexual. Following the fight, Griffith spent the rest of his life questioning himself and a society that would accept his accidental killing of a fellow athlete, but not his sexuality. Featuring baritone Arthur Woodley, bass-baritone Kenneth Kellogg, 30-piece orchestra, chorus, dancers, elaborate staging, costumes, video projections, a jazz trio and more! Co-presented by SFJAZZ & Opera Parallèle this is a West Coast premiere.\u003c/p>\n\u003cp>\u003cstrong>We've got a pair of tickets (worth $75 each) to give away! \u003c/strong>For your chance to win, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Champion\" that contains your full name.\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select a winner to receive two tickets (worth $75 per ticket.) \u003cstrong>Deadline to enter is Tuesday, Feb 16 at 9am.\u003c/strong> Winners will be notified by e-mail on Tuesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/events/2015-16/0219/champion\" target=\"_blank\">\u003cstrong>\u003cu>Terence Blanchard's Champion: An Opera in Jazz\u003c/u>\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong style=\"line-height: 1.5\">\u003cstrong>7:30 pm, Sunday, February 21\u003cbr>\n\u003c/strong>\u003c/strong>\u003cstrong>SFJAZZ Center, 201 Franklin Street, San Francisco, CA 94102\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Signe Toly Anderson, a vocalist and original member of the Jefferson Airplane who left the band after its first record and was replaced by Grace Slick, has died.\u003c/p>\n\u003cp>Anderson died Thursday at her home in Beaverton, Oregon, according to her daughter, Onateska Ladybug Sherwood. Anderson was 74 and had been suffering from chronic obstructive pulmonary disease. Anderson, who survived cancer in her 30s, died on the same day that another Airplane member, Paul Kantner, died.\u003c/p>\n\u003cp>Born Signe Toly in Seattle and raised in Portland, Oregon, after her parents divorced, she was a folk and jazz singer who had performed in groups since high school. She moved to San Francisco in her 20s and began appearing at a popular folk club, the Drinking Gourd. Vocalist Marty Balin heard her sing and asked her to join what became the Jefferson Airplane, which soon became a top local act and in 1966 released “The Jefferson Airplane Takes Off.” Strongly influenced by the folk-rock sound of the time, “Takes Off” was a word-of-mouth hit that combined original songs and covers, including a showcase for Anderson and her soulful contralto, “Chauffeur Blues.”\u003c/p>\n\u003cp>But by the time the album came out, Anderson had given birth to her first child and she departed after a show at the Fillmore in October 1966, a concert bootlegged for years and released officially in 2010. Given a standing ovation after Balin announced from the stage that she was leaving, Anderson told the audience, “I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.”\u003c/p>\n\u003cp>The switch from Anderson to Slick, formerly of the San Francisco group the Great Society, proved momentous for the Airplane and for rock history. Slick brought with her two future standards, “Somebody to Love” and “White Rabbit,” and a fierce vocal style and confrontational attitude. The next album, “Surrealistic Pillow,” was a landmark of psychedelic rock that made the Airplane superstars and representatives of the “San Francisco Sound.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You have to look at the priorities in your life, the reality in your life,” Anderson told radio station KGON in Portland in 2011, remembering the ordeals of bringing her baby on tour. “I had to wait in the San Francisco airport in July of 1966 for 36 hours before we got on the airplane and flew to Chicago. All the diapers were gone.”\u003c/p>\n\u003cp>“I don’t regret having left,” she added.\u003c/p>\n\u003cp>Anderson was a footnote in the Airplane’s history, but was regarded with respect and affection by fans, and stayed in touch with Kantner, Balin and other band members with whom she performed on occasion over the following decades. In one way at least she proved irreplaceable: The Airplane dropped “Chauffeur Blues” from its live shows.\u003c/p>\n\u003cp>On Facebook, bassist Jack Casady remembered her as “a real sweetheart with a terrific contralto voice.” Airplane guitarist Jorma Kaukonen wrote on his blog that Anderson was “our den mother in the early days of the Airplane” a voice of reason for “our dysfunctional little family.” Balin, writing on Facebook, imagined that she and Kantner “woke up in heaven and said ‘Hey what are you doing here? Let’s start a band.'”\u003c/p>\n\u003cp>Anderson was married twice, to Merry Prankster Jerry Anderson and to Michael Alois Ettlin, who died in 2011. She is survived by two children and three grandchildren.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Signe Toly Anderson, a vocalist and original member of the Jefferson Airplane who left the band after its first record and was replaced by Grace Slick, has died.\u003c/p>\n\u003cp>Anderson died Thursday at her home in Beaverton, Oregon, according to her daughter, Onateska Ladybug Sherwood. Anderson was 74 and had been suffering from chronic obstructive pulmonary disease. Anderson, who survived cancer in her 30s, died on the same day that another Airplane member, Paul Kantner, died.\u003c/p>\n\u003cp>Born Signe Toly in Seattle and raised in Portland, Oregon, after her parents divorced, she was a folk and jazz singer who had performed in groups since high school. She moved to San Francisco in her 20s and began appearing at a popular folk club, the Drinking Gourd. Vocalist Marty Balin heard her sing and asked her to join what became the Jefferson Airplane, which soon became a top local act and in 1966 released “The Jefferson Airplane Takes Off.” Strongly influenced by the folk-rock sound of the time, “Takes Off” was a word-of-mouth hit that combined original songs and covers, including a showcase for Anderson and her soulful contralto, “Chauffeur Blues.”\u003c/p>\n\u003cp>But by the time the album came out, Anderson had given birth to her first child and she departed after a show at the Fillmore in October 1966, a concert bootlegged for years and released officially in 2010. Given a standing ovation after Balin announced from the stage that she was leaving, Anderson told the audience, “I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.”\u003c/p>\n\u003cp>The switch from Anderson to Slick, formerly of the San Francisco group the Great Society, proved momentous for the Airplane and for rock history. Slick brought with her two future standards, “Somebody to Love” and “White Rabbit,” and a fierce vocal style and confrontational attitude. The next album, “Surrealistic Pillow,” was a landmark of psychedelic rock that made the Airplane superstars and representatives of the “San Francisco Sound.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You have to look at the priorities in your life, the reality in your life,” Anderson told radio station KGON in Portland in 2011, remembering the ordeals of bringing her baby on tour. “I had to wait in the San Francisco airport in July of 1966 for 36 hours before we got on the airplane and flew to Chicago. All the diapers were gone.”\u003c/p>\n\u003cp>“I don’t regret having left,” she added.\u003c/p>\n\u003cp>Anderson was a footnote in the Airplane’s history, but was regarded with respect and affection by fans, and stayed in touch with Kantner, Balin and other band members with whom she performed on occasion over the following decades. In one way at least she proved irreplaceable: The Airplane dropped “Chauffeur Blues” from its live shows.\u003c/p>\n\u003cp>On Facebook, bassist Jack Casady remembered her as “a real sweetheart with a terrific contralto voice.” Airplane guitarist Jorma Kaukonen wrote on his blog that Anderson was “our den mother in the early days of the Airplane” a voice of reason for “our dysfunctional little family.” Balin, writing on Facebook, imagined that she and Kantner “woke up in heaven and said ‘Hey what are you doing here? Let’s start a band.'”\u003c/p>\n\u003cp>Anderson was married twice, to Merry Prankster Jerry Anderson and to Michael Alois Ettlin, who died in 2011. She is survived by two children and three grandchildren.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Super Bowl takes place a week before the Grammys, but the big game is rivaling the awards shows with a plethora of live concerts and on-site musicians, from the Red Hot Chili Peppers and Metallica to Pharrell and Skrillex.\u003c/p>\n\u003cp>Alicia Keys, OneRepublic and the Band Perry will perform at concerts on Saturday, Friday and Thursday, respectively. Dave Matthews Band will take the stage Thursday and as part of the Sports Illustrated Experience, Iggy Azalea will perform on Friday, the same night Nick Jonas will perform at the annual “ESPN The Party.”\u003c/p>\n\u003cp>Lil Wayne and A$AP Rocky will headline the Maxim Party on Saturday, while Avicii, Elle King and Travis Scott will perform at a Rolling Stone magazine party the same night.\u003c/p>\n\u003cp>Though Super Bowl 50 will be held at Levi’s Stadium in Santa Clara, California, most of the concerts and parties will take place in San Francisco.\u003c/p>\n\u003cp>Fall Out Boy announced Monday that they will perform Friday during Verizon’s go90 Live free concert series at The Regency Ballroom. The rock band, which has performed around the Super Bowl in the past, said performing ahead of the big game gives musicians the opportunity to gain new fans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People are there and they’re hyped for the Super Bowl, so it’s a chance to win people over, which is awesome,” frontman Pete Wentz said in an interview last week.\u003c/p>\n\u003cp>Skrillex and country singer Hunter Hayes are also part of the lineup for the go90 Live, which is offering free tickets on a first-come, first-served basis at \u003ca href=\"http://www.go90.com/sanfrancisco\" target=\"_blank\" rel=\"noopener\">http://www.go90.com/sanfrancisco\u003c/a>. Hunter and Skrillex will perform on Thursday and Saturday, respectively.\u003c/p>\n\u003cp>Metallica will perform at the AT&T Park the night before the big game, where the Carolina Panthers will take on the Denver Broncos and halftime show performers include Beyoncé and Coldplay.\u003c/p>\n\u003cp>Wentz, who said he joined a fantasy football league this year but lost, said he’s rooting for both teams — sort of.\u003c/p>\n\u003cp>“If I was a 10-year-old right now, I feel like there’s no way you’re not a Cam Newton fan. He optimizes cool and he looks like he’s having fun every moment he’s playing,” he said. “But at the same time, we watched the Broncos-Patriots game with my buddies from Denver …and it was cool ’cause it was emotional for them, so maybe I’m for the Broncos a little bit for my friends.”\u003c/p>\n\u003cp>DirecTV and Pepsi are teaming up to put on shows at Pier 70, including Dave Matthews Band, Pharrell and Red Hot Chili Peppers on Thursday, Friday and Saturday nights. The Chili Peppers, who performed with Bruno Mars during the halftime show in 2014, are expected to bring out special guests during their set.\u003c/p>\n\u003cp>Snoop Dogg will host the Player’s Gala on Sunday, where he will DJ, perform and host a Super Bowl viewing party. Zac Brown Band will perform at the Bleacher Ball on Friday, and Diplo and rapper-singer-producer Future will perform at a New Era concert on Saturday night.\u003c/p>\n\u003cp>San Francisco-based Third Eye Blind will perform at the 25th annual Party with a Purpose, while actor-singer Jamie Foxx will host a SiriusXM live broadcast on Friday.\u003c/p>\n\u003cp>Wentz said he hopes to see some of his musician peers throughout the week.\u003c/p>\n\u003cp>“I always try to sneak in something. …I will watch Metallica any chance that I get,” Wentz said.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Online:\u003c/p>\n\u003cp>http://www.sfbaysuperbowl.com/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Super Bowl takes place a week before the Grammys, but the big game is rivaling the awards shows with a plethora of live concerts and on-site musicians, from the Red Hot Chili Peppers and Metallica to Pharrell and Skrillex.\u003c/p>\n\u003cp>Alicia Keys, OneRepublic and the Band Perry will perform at concerts on Saturday, Friday and Thursday, respectively. Dave Matthews Band will take the stage Thursday and as part of the Sports Illustrated Experience, Iggy Azalea will perform on Friday, the same night Nick Jonas will perform at the annual “ESPN The Party.”\u003c/p>\n\u003cp>Lil Wayne and A$AP Rocky will headline the Maxim Party on Saturday, while Avicii, Elle King and Travis Scott will perform at a Rolling Stone magazine party the same night.\u003c/p>\n\u003cp>Though Super Bowl 50 will be held at Levi’s Stadium in Santa Clara, California, most of the concerts and parties will take place in San Francisco.\u003c/p>\n\u003cp>Fall Out Boy announced Monday that they will perform Friday during Verizon’s go90 Live free concert series at The Regency Ballroom. The rock band, which has performed around the Super Bowl in the past, said performing ahead of the big game gives musicians the opportunity to gain new fans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People are there and they’re hyped for the Super Bowl, so it’s a chance to win people over, which is awesome,” frontman Pete Wentz said in an interview last week.\u003c/p>\n\u003cp>Skrillex and country singer Hunter Hayes are also part of the lineup for the go90 Live, which is offering free tickets on a first-come, first-served basis at \u003ca href=\"http://www.go90.com/sanfrancisco\" target=\"_blank\" rel=\"noopener\">http://www.go90.com/sanfrancisco\u003c/a>. Hunter and Skrillex will perform on Thursday and Saturday, respectively.\u003c/p>\n\u003cp>Metallica will perform at the AT&T Park the night before the big game, where the Carolina Panthers will take on the Denver Broncos and halftime show performers include Beyoncé and Coldplay.\u003c/p>\n\u003cp>Wentz, who said he joined a fantasy football league this year but lost, said he’s rooting for both teams — sort of.\u003c/p>\n\u003cp>“If I was a 10-year-old right now, I feel like there’s no way you’re not a Cam Newton fan. He optimizes cool and he looks like he’s having fun every moment he’s playing,” he said. “But at the same time, we watched the Broncos-Patriots game with my buddies from Denver …and it was cool ’cause it was emotional for them, so maybe I’m for the Broncos a little bit for my friends.”\u003c/p>\n\u003cp>DirecTV and Pepsi are teaming up to put on shows at Pier 70, including Dave Matthews Band, Pharrell and Red Hot Chili Peppers on Thursday, Friday and Saturday nights. The Chili Peppers, who performed with Bruno Mars during the halftime show in 2014, are expected to bring out special guests during their set.\u003c/p>\n\u003cp>Snoop Dogg will host the Player’s Gala on Sunday, where he will DJ, perform and host a Super Bowl viewing party. Zac Brown Band will perform at the Bleacher Ball on Friday, and Diplo and rapper-singer-producer Future will perform at a New Era concert on Saturday night.\u003c/p>\n\u003cp>San Francisco-based Third Eye Blind will perform at the 25th annual Party with a Purpose, while actor-singer Jamie Foxx will host a SiriusXM live broadcast on Friday.\u003c/p>\n\u003cp>Wentz said he hopes to see some of his musician peers throughout the week.\u003c/p>\n\u003cp>“I always try to sneak in something. …I will watch Metallica any chance that I get,” Wentz said.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Online:\u003c/p>\n\u003cp>http://www.sfbaysuperbowl.com/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \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=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "No, this isn't a parody: The presidential candidate has a folk album. The producer of the 1987 recording gives NPR a glimpse inside the studio — and explains the then-mayor's \"talking-blues approach.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \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=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ty Segall, Lucinda Williams, Anderson .Paak Kick Off 2016's Musical Highlights",
"title": "Ty Segall, Lucinda Williams, Anderson .Paak Kick Off 2016's Musical Highlights",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xY_6-YTjMrw\u003c/p>\n\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vu1kBnR01VM\u003c/p>\n\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-mlg-fFJZGA\u003c/p>\n\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KXdW0g6jAxE\u003c/p>\n\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\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/xY_6-YTjMrw'\n title='//www.youtube.com/embed/xY_6-YTjMrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\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/Vu1kBnR01VM'\n title='//www.youtube.com/embed/Vu1kBnR01VM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-mlg-fFJZGA'\n title='//www.youtube.com/embed/-mlg-fFJZGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\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/KXdW0g6jAxE'\n title='//www.youtube.com/embed/KXdW0g6jAxE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A New Museum, Music to Take Us to the Stars and Super Entertainment",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/20160108tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11227915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11227915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450.jpg\" alt=\"Tiffany Austin\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 29 & Feb. 12:\u003c/strong> Tiffany Austin is one of the Bay Area’s great jazz singers. No. She’s one of the \u003cstrong>country’s\u003c/strong> best jazz singers. She’s magnetic on stage, always finding fresh insights on the American songbook, and yet always in touch with the singers and traditions who’ve come before. She’s doing songs made famous by the Queens of Swing- Bessie Smith, Billie Holiday, and Nina Simone- in her show at \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6385625\" target=\"_blank\" rel=\"noopener\">Feinstein’s Jan. 30\u003c/a>, and songs of love for her show at \u003ca href=\"http://piedmontpiano.com/concerts/160212tiffanyaustin.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano Feb. 12\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11283422\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company.png\" alt=\"Jessica Hagedorn (center) with cast of 'Dogeaters.' \" width=\"819\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company.png 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-400x252.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-768x484.png 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Hagedorn (center) with cast of ‘Dogeaters.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 3-28:\u003c/strong> In 1990, San Francisco writer Jessica Hagedorn wrote her widely praised novel Dogeaters, a satire on life in the Philippines in the mid-20th Century. Now she’s working with Magic Theatre Artistic Director Loretta Greco to rework the stage version she first adapted for the La Jolla Playhouse. This new production features many cast members from ACT’s fine show Monstress, about Filipino-American life, that played the Strand Theater last year. It’s a great story about the Philippines, but it’s also a great way to better understand America’s colonial history in the Pacific. \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5DjgpPL7RhA\u003c/p>\n\u003cp>\u003cstrong>Jan. 29 & 31\u003c/strong>: Cal Performances is presenting a series of shows on the natural world and the art it inspires. So this Sunday (Jan. 31) \u003ca href=\"http://www.stlsymphony.org/\" target=\"_blank\" rel=\"noopener\">The St Louis Symphony, under conductor David Robertson\u003c/a>, is playing a rarely done work by the nature boy of new music-Olivier Messiaen. He composed \u003ca href=\"http://shop.stlsymphony.org/single/EventDetail.aspx?p=4842\" target=\"_blank\" rel=\"noopener\">Des canyons aux étoiles\u003c/a> (from the canyons to the stars) on a commission to mark the US Bicentennial. Rather than reading the works of the founding fathers for inspiration, he visited the American Southwest, Bryce Canyon, Cedar Breaks, and Zion Park. Messiaen had synthesia. He could hear colors. So picture a 90 minute symphony of red rock canyons and bird songs, a Messiaen specialty, with a multimedia presentation of photos of Bryce Canyon by Deborah O’Grady. Messiaen invented a new instrument for this piece, the geophone, lead pellets in a bucket that sounded to Messiaen like sand blowing in the desert. \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony.php\" target=\"_blank\" rel=\"noopener\">The St. Louis Symphony plays Mahler and John Adams Friday Jan. 29.\u003c/a> Then the \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony-des-canyons-aux-etoiles.php\" target=\"_blank\" rel=\"noopener\">Messiaen Sunday afternoon Jan. 31.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283434\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11283434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/010-1-1180x885.jpg\" alt=\"UC Berkeley Art Museum Director Lawrence Rinder in the lobby of the BAM/PFA\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Art Museum Director Lawrence Rinder in the lobby of the BAM/PFA \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.bampfa.berkeley.edu/visit\" target=\"_blank\" rel=\"noopener\">The Berkeley Art Museum\u003c/a> closed its old home, infamous for its brutalist architectural style, just over a year ago. And there’s a free housewarming for the new museum Sunday. It’s not just that the new museum is a sleek beauty, it’s also an improvement because it’s located just a block from the downtown Berkeley BART station. Architects Diller Scofidio and Renfro — who did the Highline in NYC — have remodeled what was an old Deco Moderne printing plant, and topped it with a sleek, skinlike, stainless steel roof. Museum director Lawrence Rinder has curated a sprawling show called \u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">Architecture of Life\u003c/a> to sharpen visitors’ sense of how we relate to the design of things like buildings or nature. And then there’s the Pacific Film Archive to enjoy, with its busy schedule of rep films in two new state of the art theaters. Too much of a good thing is a good thing. \u003ca href=\"http://bampfa.org/program/grand-opening-week\" target=\"_blank\" rel=\"noopener\">Details of the free opening here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283550\" class=\"wp-caption aligncenter\" style=\"max-width: 494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL.jpg\" alt=\"Derek Gores used 49ers maps, magazines, tickets, and programs to make this collage of the California flag.\" width=\"494\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL.jpg 494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL-400x283.jpg 400w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">Derek Gores used 49ers maps, magazines, tickets, and programs to make this collage of the California flag. \u003ccite>(Photo Courtesy of JCO's Place))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 30-Feb. 7:\u003c/strong> My co-host David Wiegand and I play a little touch football every time we tape the Do List — just to get the blood flowing. Still even, we’re not thrilled that the Super Bowl is going to close streets and tie up traffic for days in Santa Clara and San Francisco. But there is a benefit: free shows and art events around the Bay. (Maybe not really free, if San Francisco taxpayers end up on the hook for what the event really costs.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfbaysuperbowl.com/super-bowl-city#BvFFUgvIXb1kQrzZ.97\" target=\"_blank\" rel=\"noopener\">Super Bowl City \u003c/a>at Justin Herman Plaza in San Francisco is hosting a long list of Bay Area and national stars including Alicia Keys and Goapele, One Republic, The Band Perry, and singer-songwriters Chris Isaak and Matt Nathanson. the Oakland Interfaith Gospel Choir, and more. \u003ca href=\"http://www.sfbaysuperbowl.com/city-stage-presented-levis#JHULrSGZEdDPuir3.97\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283552\" class=\"wp-caption aligncenter\" style=\"max-width: 514px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films.jpg\" alt=\"The San Francisco Symphony accompanies an evening of NFL Films\" width=\"514\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films-400x200.jpg 400w\" sizes=\"(max-width: 514px) 100vw, 514px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony accompanies an evening of NFL Films\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Symphony accompanies an evening of NFL Films hosted by Marcus Allen.\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/NFL-A-Concert-of-Champions\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>And if you’re worried that Oakland is missing out on the fun, there’s a \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">Super Bowl Gospel Concert at the Paramount in Oakland. \u003c/a>\u003c/p>\n\u003cp>Plus there’s \u003cem>Gridiron Glory: The Best of the Pro Football Hall of Fame\u003c/em> exhibit at the \u003ca href=\"http://www.tritonmuseum.org/exhibitions_gridiron.php\" target=\"_blank\" rel=\"noopener\">Triton Museum in Santa Clara\u003c/a>… and \u003ca href=\"http://www.jcosplace.com/nfl.html\" target=\"_blank\" rel=\"noopener\">JCO’s Place in Los Gatos is hosting the \u003cem>Art of the NFL\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-11283554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1180x741.jpg\" alt=\"The Bay Bridge Lights return Jan. 30\" width=\"640\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1920x1205.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-960x603.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the best show in town this weekend may be the relighting of the Bay Bridge Lights this Saturday Jan. 30, about 7:25, with fireworks to follow.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11227915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11227915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450.jpg\" alt=\"Tiffany Austin\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 29 & Feb. 12:\u003c/strong> Tiffany Austin is one of the Bay Area’s great jazz singers. No. She’s one of the \u003cstrong>country’s\u003c/strong> best jazz singers. She’s magnetic on stage, always finding fresh insights on the American songbook, and yet always in touch with the singers and traditions who’ve come before. She’s doing songs made famous by the Queens of Swing- Bessie Smith, Billie Holiday, and Nina Simone- in her show at \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6385625\" target=\"_blank\" rel=\"noopener\">Feinstein’s Jan. 30\u003c/a>, and songs of love for her show at \u003ca href=\"http://piedmontpiano.com/concerts/160212tiffanyaustin.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano Feb. 12\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11283422\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company.png\" alt=\"Jessica Hagedorn (center) with cast of 'Dogeaters.' \" width=\"819\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company.png 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-400x252.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-768x484.png 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Hagedorn (center) with cast of ‘Dogeaters.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 3-28:\u003c/strong> In 1990, San Francisco writer Jessica Hagedorn wrote her widely praised novel Dogeaters, a satire on life in the Philippines in the mid-20th Century. Now she’s working with Magic Theatre Artistic Director Loretta Greco to rework the stage version she first adapted for the La Jolla Playhouse. This new production features many cast members from ACT’s fine show Monstress, about Filipino-American life, that played the Strand Theater last year. It’s a great story about the Philippines, but it’s also a great way to better understand America’s colonial history in the Pacific. \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">Details 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/5DjgpPL7RhA'\n title='//www.youtube.com/embed/5DjgpPL7RhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 29 & 31\u003c/strong>: Cal Performances is presenting a series of shows on the natural world and the art it inspires. So this Sunday (Jan. 31) \u003ca href=\"http://www.stlsymphony.org/\" target=\"_blank\" rel=\"noopener\">The St Louis Symphony, under conductor David Robertson\u003c/a>, is playing a rarely done work by the nature boy of new music-Olivier Messiaen. He composed \u003ca href=\"http://shop.stlsymphony.org/single/EventDetail.aspx?p=4842\" target=\"_blank\" rel=\"noopener\">Des canyons aux étoiles\u003c/a> (from the canyons to the stars) on a commission to mark the US Bicentennial. Rather than reading the works of the founding fathers for inspiration, he visited the American Southwest, Bryce Canyon, Cedar Breaks, and Zion Park. Messiaen had synthesia. He could hear colors. So picture a 90 minute symphony of red rock canyons and bird songs, a Messiaen specialty, with a multimedia presentation of photos of Bryce Canyon by Deborah O’Grady. Messiaen invented a new instrument for this piece, the geophone, lead pellets in a bucket that sounded to Messiaen like sand blowing in the desert. \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony.php\" target=\"_blank\" rel=\"noopener\">The St. Louis Symphony plays Mahler and John Adams Friday Jan. 29.\u003c/a> Then the \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony-des-canyons-aux-etoiles.php\" target=\"_blank\" rel=\"noopener\">Messiaen Sunday afternoon Jan. 31.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283434\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11283434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/010-1-1180x885.jpg\" alt=\"UC Berkeley Art Museum Director Lawrence Rinder in the lobby of the BAM/PFA\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Art Museum Director Lawrence Rinder in the lobby of the BAM/PFA \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.bampfa.berkeley.edu/visit\" target=\"_blank\" rel=\"noopener\">The Berkeley Art Museum\u003c/a> closed its old home, infamous for its brutalist architectural style, just over a year ago. And there’s a free housewarming for the new museum Sunday. It’s not just that the new museum is a sleek beauty, it’s also an improvement because it’s located just a block from the downtown Berkeley BART station. Architects Diller Scofidio and Renfro — who did the Highline in NYC — have remodeled what was an old Deco Moderne printing plant, and topped it with a sleek, skinlike, stainless steel roof. Museum director Lawrence Rinder has curated a sprawling show called \u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">Architecture of Life\u003c/a> to sharpen visitors’ sense of how we relate to the design of things like buildings or nature. And then there’s the Pacific Film Archive to enjoy, with its busy schedule of rep films in two new state of the art theaters. Too much of a good thing is a good thing. \u003ca href=\"http://bampfa.org/program/grand-opening-week\" target=\"_blank\" rel=\"noopener\">Details of the free opening here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283550\" class=\"wp-caption aligncenter\" style=\"max-width: 494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL.jpg\" alt=\"Derek Gores used 49ers maps, magazines, tickets, and programs to make this collage of the California flag.\" width=\"494\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL.jpg 494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL-400x283.jpg 400w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">Derek Gores used 49ers maps, magazines, tickets, and programs to make this collage of the California flag. \u003ccite>(Photo Courtesy of JCO's Place))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 30-Feb. 7:\u003c/strong> My co-host David Wiegand and I play a little touch football every time we tape the Do List — just to get the blood flowing. Still even, we’re not thrilled that the Super Bowl is going to close streets and tie up traffic for days in Santa Clara and San Francisco. But there is a benefit: free shows and art events around the Bay. (Maybe not really free, if San Francisco taxpayers end up on the hook for what the event really costs.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfbaysuperbowl.com/super-bowl-city#BvFFUgvIXb1kQrzZ.97\" target=\"_blank\" rel=\"noopener\">Super Bowl City \u003c/a>at Justin Herman Plaza in San Francisco is hosting a long list of Bay Area and national stars including Alicia Keys and Goapele, One Republic, The Band Perry, and singer-songwriters Chris Isaak and Matt Nathanson. the Oakland Interfaith Gospel Choir, and more. \u003ca href=\"http://www.sfbaysuperbowl.com/city-stage-presented-levis#JHULrSGZEdDPuir3.97\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283552\" class=\"wp-caption aligncenter\" style=\"max-width: 514px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films.jpg\" alt=\"The San Francisco Symphony accompanies an evening of NFL Films\" width=\"514\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films-400x200.jpg 400w\" sizes=\"(max-width: 514px) 100vw, 514px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony accompanies an evening of NFL Films\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Symphony accompanies an evening of NFL Films hosted by Marcus Allen.\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/NFL-A-Concert-of-Champions\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>And if you’re worried that Oakland is missing out on the fun, there’s a \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">Super Bowl Gospel Concert at the Paramount in Oakland. \u003c/a>\u003c/p>\n\u003cp>Plus there’s \u003cem>Gridiron Glory: The Best of the Pro Football Hall of Fame\u003c/em> exhibit at the \u003ca href=\"http://www.tritonmuseum.org/exhibitions_gridiron.php\" target=\"_blank\" rel=\"noopener\">Triton Museum in Santa Clara\u003c/a>… and \u003ca href=\"http://www.jcosplace.com/nfl.html\" target=\"_blank\" rel=\"noopener\">JCO’s Place in Los Gatos is hosting the \u003cem>Art of the NFL\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-11283554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1180x741.jpg\" alt=\"The Bay Bridge Lights return Jan. 30\" width=\"640\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1920x1205.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-960x603.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the best show in town this weekend may be the relighting of the Bay Bridge Lights this Saturday Jan. 30, about 7:25, with fireworks to follow.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Kantner, co-founder of the legendary psychedelic San Francisco band the Jefferson Airplane, died of multiple organ failure Thursday at the age of 74.\u003c/p>\n\u003cp>Kantner had suffered a heart attack earlier this week before dying of multiple organ failure and septic shock, according to \u003ca href=\"http://www.sfchronicle.com/news/article/Jefferson-Airplane-s-Paul-Kantner-dies-at-74-6791483.php?\" target=\"_blank\" rel=\"noopener\">Cynthia Brown, the band’s longtime publicist\u003c/a>. \u003c/p>\n\u003cp>After meeting singer Marty Balin, Kantner and Balin started Jefferson Airplane in 1965. Two years later, former Great Society singer Grace Slick would join the group, bringing two songs with her: “Somebody To Love” and “White Rabbit,” which would become Jefferson Airplane’s biggest hits and iconic examples of the ’60s San Francisco psychedelic sound.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tKtJ0XTwgTE\u003c/p>\n\u003cp>After recording five albums with Jefferson Airplane, Kantner and Slick would go in the studio in 1970 with David Crosby, Graham Nash, members of the Grateful Dead and other groups to record a concept album based on the writings of science fiction author Robert Heinlein, called \u003cem>Blows Against the Empire.\u003c/em> The album, credited to “Paul Kantner and the Jefferson Starship” (four years before the band would change its name), earned a gold record and was the first rock record ever to be nominated for \u003ca href=\"http://file770.com/?p=940\" target=\"_blank\" rel=\"noopener\">a Hugo Award;\u003c/a> before then, only works of science fiction and fantasy literature had been nominated. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jefferson Airplane disintegrated by the early ’70s, but returned in 1974 as Jefferson Starship, with Slick and Kantner at the helm. The band released four albums — \u003cem>Dragon Fly\u003c/em>, \u003cem>Red Octopus\u003c/em>, \u003cem>Spitfire\u003c/em> and \u003cem>Earth\u003c/em> — before Slick was asked to leave the group due to her issues with alcohol. She returned to the band in the early ’80s, with Kantner leaving soon after, taking the “Jefferson” part of the name with him. (With the band Starship, Slick enjoyed massive hits like “We Built This City” and “Nothing’s Going To Stop Us Now.” Kantner and Slick also had a daughter together named China Wing Kantner.)\u003c/p>\n\u003cp>https://youtu.be/gEdPfHBXqNc\u003c/p>\n\u003cp>In 1992, Kantner restarted Jefferson Starship with Balin and released two more albums — \u003cem>Windows Of Heaven\u003c/em> (1998) and \u003cem>Jefferson’s Tree of Liberty\u003c/em> (2008) — and played several tours before his death this week. Kanter would be the only founding member of Jefferson Airplane to play in all incarnations of the group with “Jefferson” in the name. He and the other original members of Jefferson Airplane were inducted into the Rock and Roll Hall Of Fame in 1996.\u003c/p>\n\u003cp>Though often seen out in public in San Francisco, particularly in North Beach, Kantner dealt with many health issues and suffered a heart attack in March of last year, according to the \u003ca href=\"http://www.sfchronicle.com/news/article/Jefferson-Airplane-s-Paul-Kantner-dies-at-74-6791483.php?\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. He is survived by three children: his daughter China, and his two sons, Gareth and Alexander.\u003c/p>\n\u003cp>“A major loss to rock music and to San Francisco,” local music writer \u003ca href=\"http://www.richieunterberger.com/\" target=\"_blank\" rel=\"noopener\">Richie Unterberger\u003c/a> wrote on Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Farewell, Paul Kantner — tough, smart, radical, breathtakingly talented. The John Lennon of the Jefferson Airplane, and the driving force behind the most musical and magical band to emerge from the West Coast in the 1960s,” \u003cem>Salon.com\u003c/em> founder and author \u003ca href=\"https://www.facebook.com/david.talbot.9440/posts/1028275683882969\" target=\"_blank\" rel=\"noopener\">David Talbot wrote on Facebook\u003c/a>. “Interviewing Paul for my book \u003cem>Season of the Witch\u003c/em> was not exactly ‘acid, incense and balloons’ — he was prickly, argumentative, and mind-opening. You had to be on your A-game to talk with Paul, he did not suffer fools gladly.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Kantner, co-founder of the legendary psychedelic San Francisco band the Jefferson Airplane, died of multiple organ failure Thursday at the age of 74.\u003c/p>\n\u003cp>Kantner had suffered a heart attack earlier this week before dying of multiple organ failure and septic shock, according to \u003ca href=\"http://www.sfchronicle.com/news/article/Jefferson-Airplane-s-Paul-Kantner-dies-at-74-6791483.php?\" target=\"_blank\" rel=\"noopener\">Cynthia Brown, the band’s longtime publicist\u003c/a>. \u003c/p>\n\u003cp>After meeting singer Marty Balin, Kantner and Balin started Jefferson Airplane in 1965. Two years later, former Great Society singer Grace Slick would join the group, bringing two songs with her: “Somebody To Love” and “White Rabbit,” which would become Jefferson Airplane’s biggest hits and iconic examples of the ’60s San Francisco psychedelic sound.\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/tKtJ0XTwgTE'\n title='//www.youtube.com/embed/tKtJ0XTwgTE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After recording five albums with Jefferson Airplane, Kantner and Slick would go in the studio in 1970 with David Crosby, Graham Nash, members of the Grateful Dead and other groups to record a concept album based on the writings of science fiction author Robert Heinlein, called \u003cem>Blows Against the Empire.\u003c/em> The album, credited to “Paul Kantner and the Jefferson Starship” (four years before the band would change its name), earned a gold record and was the first rock record ever to be nominated for \u003ca href=\"http://file770.com/?p=940\" target=\"_blank\" rel=\"noopener\">a Hugo Award;\u003c/a> before then, only works of science fiction and fantasy literature had been nominated. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jefferson Airplane disintegrated by the early ’70s, but returned in 1974 as Jefferson Starship, with Slick and Kantner at the helm. The band released four albums — \u003cem>Dragon Fly\u003c/em>, \u003cem>Red Octopus\u003c/em>, \u003cem>Spitfire\u003c/em> and \u003cem>Earth\u003c/em> — before Slick was asked to leave the group due to her issues with alcohol. She returned to the band in the early ’80s, with Kantner leaving soon after, taking the “Jefferson” part of the name with him. (With the band Starship, Slick enjoyed massive hits like “We Built This City” and “Nothing’s Going To Stop Us Now.” Kantner and Slick also had a daughter together named China Wing Kantner.)\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/gEdPfHBXqNc'\n title='//www.youtube.com/embed/gEdPfHBXqNc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1992, Kantner restarted Jefferson Starship with Balin and released two more albums — \u003cem>Windows Of Heaven\u003c/em> (1998) and \u003cem>Jefferson’s Tree of Liberty\u003c/em> (2008) — and played several tours before his death this week. Kanter would be the only founding member of Jefferson Airplane to play in all incarnations of the group with “Jefferson” in the name. He and the other original members of Jefferson Airplane were inducted into the Rock and Roll Hall Of Fame in 1996.\u003c/p>\n\u003cp>Though often seen out in public in San Francisco, particularly in North Beach, Kantner dealt with many health issues and suffered a heart attack in March of last year, according to the \u003ca href=\"http://www.sfchronicle.com/news/article/Jefferson-Airplane-s-Paul-Kantner-dies-at-74-6791483.php?\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. He is survived by three children: his daughter China, and his two sons, Gareth and Alexander.\u003c/p>\n\u003cp>“A major loss to rock music and to San Francisco,” local music writer \u003ca href=\"http://www.richieunterberger.com/\" target=\"_blank\" rel=\"noopener\">Richie Unterberger\u003c/a> wrote on Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Farewell, Paul Kantner — tough, smart, radical, breathtakingly talented. The John Lennon of the Jefferson Airplane, and the driving force behind the most musical and magical band to emerge from the West Coast in the 1960s,” \u003cem>Salon.com\u003c/em> founder and author \u003ca href=\"https://www.facebook.com/david.talbot.9440/posts/1028275683882969\" target=\"_blank\" rel=\"noopener\">David Talbot wrote on Facebook\u003c/a>. “Interviewing Paul for my book \u003cem>Season of the Witch\u003c/em> was not exactly ‘acid, incense and balloons’ — he was prickly, argumentative, and mind-opening. You had to be on your A-game to talk with Paul, he did not suffer fools gladly.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When have things simply gone too far? Is it when you announce that \u003ca href=\"http://www.cnn.com/2016/01/23/politics/donald-trump-shoot-somebody-support/\" target=\"_blank\" rel=\"noopener\">you could shoot someone on the street\u003c/a> and not lose a vote? When \u003ca href=\"http://www.newyorker.com/magazine/2015/12/21/the-siege-of-miami\" target=\"_blank\" rel=\"noopener\">Miami is underwater\u003c/a>? Or maybe when you tell Wiz Khalifa that you “\u003ca href=\"http://www.thewrap.com/kanye-west-aims-twitter-fury-at-wiz-khalifa-i-own-your-child/\">own his child\u003c/a>?” For Grayson Converse, frontman of San Francisco four-piece Spooky Mansion, things crossed a line one bizarre night in the south of France.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Spooky Mansion, “Gone Too Far”\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/listen-in/2016/01/listeninspookiestMansion.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Listen in as Converse and his bandmates discuss the bizarre series of events that inspired “Gone Too Far,” its “haunted church” guitar tones, and what happens when you grow up only listening to Bob Dylan in this episode of the podcast, recorded outside Revolution Cafe in San Francisco’s Mission District.\u003c/p>\n\u003cp>Be sure to catch Spooky Mansion when they play \u003ca href=\"http://www.makeoutroom.com/events/saturday-january-30\">the last night of their January residency\u003c/a> this Saturday at the Make-Out Room, alongside San Francisco’s \u003cstrong>O\u003c/strong> and \u003cstrong>Bear Call\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>What does Bowie have in common with Tupac? Does Serial Season 2 suck? And can you guess the X-Files plot?\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/01/BowieandTupac.mp3\" title=\"Will David Bowie Join Tupac in Life After Death?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we’re catching up on everything we missed while we were away, starting with our dearly departed David Bowie and what he has in common with Tupac:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/78a371ef4ad5a55379b661517c43fef3.gif\" rel=\"attachment wp-att-20082\">\u003cimg class=\"aligncenter size-full wp-image-20082\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/78a371ef4ad5a55379b661517c43fef3.gif\" alt=\"david bowie sad gif\" width=\"500\" height=\"275\">\u003c/a>\u003c/p>\n\u003cp>We're also questioning whether we should keep hate listening to \u003cem>Serial\u003c/em> Season 2 or just give up and watch this on repeat instead:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ATXbJjuZqbc\u003c/p>\n\u003cp>We play a Can You Guess the X-Files Plot? game:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/A5AO4RE.gif\" rel=\"attachment wp-att-20085\">\u003cimg class=\"aligncenter size-full wp-image-20085\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/A5AO4RE.gif\" alt=\"x-files gif scully\" width=\"500\" height=\"579\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a divisive Scarlett Johansson song, which features backing vocals from none other than David Bowie:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=USiLOQFW3X4\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"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?",
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"perspectives": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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